Week 1 – Anatomy – Proportions/skull
Proportions & Skulls – Skull Compare Male vs Female
Proportions & Skulls – Skull Drawing Exercise
Head tips when you sculpt from “Anatomy For Sculptors – Understanding The Human Figure” by Uldis Zarins:
Week 2 – Nose
While sculpting, we need to keep in mind how the nose is built so that we can get a more physiologically correct nose and make it look more real.
Nose sculpture:
To sculpt those noses, I used the following brushes: Move, Standart, DamStandart and TrimDynamic.
nose 1:
Nose 2:
Nose 3:
Week 3 – Mouth
Mouth 1:
Mouth 2:
Mouth 3:
Week 5 – Eye
Eye references from “Anatomy For Sculptors – Understanding The Human Figure” by Uldis Zarins:
Eye 1 + 2 + 3 With the first technique:
With another technique (which I find easier):
Eye 4:
Eye 5:
Week 5 – Eye Part 2 – Maya
I Split a sphere, rotated it, and by using soft selection, I created this shape:
Extruded and dragged the inner faces back to create the hole effect:
UV:
Assigned and AI standard surface shader to the shape. Under the color section, I chose a file and attached the blue iris image. Then I adjusted the size of the image from the UV editor.
After, create one more shape for the sclera. Then I assigned and AI standard surface shader to the shape. Under the color section, I chose a file and attached the sclera image.
Under transmission, change the weight to ramp.
Rendered and used area light:
Added my eye sculpting from Zbrush:
Week 7 – Villain
Osiris, the god of death from Egyptian mythology
Moodboard:
Sketch of the figure I want to sculpt:
Process-
-> 
->
Final-
Week 8 – Villain – Fat
Light skin on a face has three zones: the forehead is whitish or golden, the area from the forehead to the nose is reddish, and the nose to the chin tends toward bluish, greenish, or greyish. These differences can be very subtle and are more noticeable in men.
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Spotlight texturing:
Added an image to the spotlight:
Texture -> Import [select an image]. Choose the image and click on add to spotlight.
Adjust the size, opacity and radius of the spotlight from the spotlight wheel.
Then turn on the RGB and turn off the Zadd on
Then I changed the material form “MatCap Gray” to “Skin Shade 4” (under standard materials)
Then start to “paint” the model
Villain Sculpt – Still in progress
Villain hat/crown
Week 9 – Neck
Sternocleidomastoid Muscle:
The sternocleidomastoid muscle helps move the head. It is visible both in women’s and men’s bodies. In really strong or muscular people, this muscle might look more noticeable because of their bigger muscles.
7th Cervical Vertebral Bone (where the neck meets the shoulders):
This bone is always visible
Trapezius Muscle:
The Trapezius Muscle and the Sternocleidomastoid Muscle:
Week 10 – Villain: Maya pipeline – Displacement Mapping
Unlike ZBrush, Maya does not deal well with high poly models. The right way to do it is to create a model in ZBrush with subdivision levels so we can take the low poly model into Maya, and by using maps (like displacement maps), we could project the details on the model.
I opened ZBrush, chose a random model from the Lightbox and then loaded the scan given on Blackboard as a tool.
Under “SubTool”, I duplicated the model and renamed one of them to “LowPoly”.
Under Geometry, I clicked on Zremesher, which reorganizes the topology of the model and reduces the polygon count.
Under Geometry, divide the low poly model 4 times so it’s poly count would be as close as possible to the high poly model.
Then make sure both of the models’ “eyes” are turned on and the low poly model is selected.
After, under Subtool -> Project, click on “ProjectAll”
Then go to ZPlugin -> UVmaster and click “Unwrap”
Export as an OBJ. the low poly model when its subdivisions are set on 1
Then go to ZPlugin -> Multi Map Exporter. Choose ‘Displacement’ and ‘Texture from Polypaint’ and then click on the ‘Export Options’ -> ‘Displacement Map’ and change the settings to the following settings. Then click on “Create All Maps”:
On Maya:
Import the OBJ (low poly) model.
Assign a new shader [AI Standard Surface]. Choose a skin preset.
Under Subsurface -> Subsurface color -> File – lowpoly texture map file (tif)
Adding a displacement map:
Go to the output of the shader and choose a file on the Displacement mat. section -> displacement map file
Then go to the Shape attribute and click on the Arnold tab.
Arnold -> Subdivision:
Change the type from none to catclarck.
Iterations = 4 (similar to the subdivision number we had on ZBrush)
Add Lights and render it.
Week 11 – Villain: Expressions using FACS
Action Unit List, Website Cheat Sheet
On ZBrush, under layers, press on the + [square icon] to add an animation.
Click on the record button and use the move brush to change the facial expression of the model.
Facial Expressions:
Happiness: Action Units 6 (cheek raiser) + 12 (lip corner puller) + 25 (lips part)
Sadness: Action Units 1 (inner brow raiser) + 4 (brow lowerer) + 15 (lip corner depressor)
Action Unit 6
Villain Final Version:
The research:
The concept:
3D Version:
3D Print:
3D Model: