Because of this it can be said to have a heavier weight. In Figure 4.54 are two lines: notice how line A is darker and thicker than line B. It refers to the relative heaviness of one line when compared to another. This disparity in heaviness is known as line weight. Also notice how some are more visible than others. Wrinkles in this area tend to run against the direction of this muscle as a result, they radiate out from the mouth.įigure 4.51 Mouth wrinkles run transverse to the muscle fibers.įigure 4.52 Notice how the wrinkles in this image are composed of several broken, sketchy lines. When crosshatching wrinkles, give consideration to line weight (Figure 4.53).įigure 4.50 The orbicularis oris muscle around the mouth. Crosshatch them with secondary wrinkles that run in the opposite direction. Be careful not to make the wrinkles too deep or too regular. Wrinkles also have a tendency to be broken, sketchy lines and not straight grooves carved into the skin (Figure 4.52). Take the mouth area, for instance.The primary wrinkles around the mouth should radiate out and transverse the direction of the mouth muscles (Figure 4.51). The skin has a tendency to wrinkle in the opposite direction of the muscle fibers beneath. When you’re sculpting skin details like pores and wrinkles, keep in mind certain aspects of how these tertiary forms tend to flow on the skin. Here I have feathered the wrinkles at the corner of the eye and added a sense of direction and flow that follows the secondary forms of the head in this area. This helps tie the texture together with other areas of the face and avoids a “stamped” look. Whenever you are using alphas as texture stamps, be sure to go back over the detail freehand sculpting. 1 is the hotkey for the Repeat Last operation. You can continue to replay the last stroke to build up the wrinkles to an appropriate depth. The stroke will repeat and increment the depth of the eye wrinkles (Figure 4.49). Use the Replay Last command under the Stroke menu to gradually build up the detail. The stroke will be very light because of the low ZIntensity. Change to Alpha 1 and keep the DragRect stroke on. I find it difficult to work with the Stencil visible turning off Show keeps the stencil active but only shows it when you press the spacebar.Ĥ. Once the stencil is placed, turn off Show under the Stencil menu to make your sculpting easier to see. At the most you could try to bulge the eyeball out at the cornea but it's probably overkill for where you're at.3. Try to understand that there's a skull under the surface and figure out how the face interacts with that as you work.įinally, as the other poster said I would get rid of this sculpted eyeball. If you have a reference board you could always post it here and I'll let you know if it's good.Īlso, you should consider the whole face, all of these sculpts look like they are too high resolution before fully defining the primary forms of the face. Have you got good references (real pictures of real eyes) ? Also, I'd suggest picking a single person as reference, you might not be able to do a likeness study yet but it helps to have all your references being the same shape. Your sculpts are all over the place on this. But in general, the iris is partially obscured from the top eyelid. The white of the eye might be showing under the iris or also slightly obscured. This looks like you're sculpting what you think an eye looks like, not what you should observe in your reference.įor example, in the vast majority of eyes the iris is covered by the eyelid at the top. Instead of just drawing the surrounding then putting a sphere as I did for the first series of pictures. I took a different approach, this time I carved a hole for a orbital glob (as the skull's hole) then I added progressively the shapes. The pictures are ranked in the order I did them. EDIT : I did follow _LilacWine 's advice and here is the results, and I am really satisfied of the improvement !
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