Anatomy and Character Sculpture
NAME: Miao Xinjun
STUDENT I.D: 0379525
MODULE: Anatomy and Character Sculpture
TABLE OF CONTENTS
2. Process Recording
2.1 Exercise - Fundamentals of Anatomy and Digital Sculpting
2.2 Project 1 - Character Sculpt 1: Stylized Character Blockout
2.3 Project 2 - Character Detailing and Texturing
2.4 Final Project - Polishing and Dynamic Posture with Props
1. INSTRUCTION
2. PROCESS RECORDING
2.1 Exercise - Fundamentals of Anatomy and Digital Sculpting
In the Anatomy and Character Sculpture module, learning basic human anatomy and drawing techniques was an essential part of the course. Therefore, we began by practising how to draw the structure of the human body. Besides Mr. Kannan’s explanations and demonstrations in class, we also needed to practise independently.
The first exercise was to break down the human body into basic forms.
Next, I continued with a more detailed study of the human skeleton. While creating this practice drawing, I used a human anatomy reference website to support my work.
Next, I continued with a more detailed study of the muscles. I drew the upper-body muscles of both male and female figures, as well as the arm and leg muscles in different poses. This helped me practise and understand how the muscles of the limbs change during movement.
Besides the drawing exercises completed in Procreate, we also learned how to use ZBrush with Mr. Kannan and completed several practice exercises during class.
2.2 Project 1 - Character Sculpt 1: Stylized Character Blockout
After several weeks of practice, we moved on to Project 1. In this task, we needed to create the basic forms and facial features of our characters. At that time, I was still not fully familiar with the tools in ZBrush. To make the basic forms match my character more closely, I reduced the opacity of the ZBrush interface and opened the three-view character design that I had drawn as a reference. This allowed me to position and adjust the forms according to the proportions of my character design.
I started with three important parts of the human body: the head, rib cage, and pelvis. Based on my previous practice, these three parts act as the main connections between different body forms. Setting their positions and sizes first provided a clear reference for placing and sizing the smaller body parts, such as the neck, arms, and legs.
After roughly confirming the positions and proportions of the head, rib cage, and pelvis, I added a sphere and stretched and reshaped it until it formed the basic shape of the waist. I then placed it between the rib cage and pelvis to connect these two main forms. This also created a simple early shape of the upper torso.
Next, I used the same method by adding more spheres and reshaping them with the Move Brush. I continued creating the smaller body forms, such as the arms, legs, and neck.
After the main body forms were mostly completed, I created the hands separately. I first inserted a cube and reshaped it to form the palm. Then, using the techniques I had learned earlier, I created the five fingers with cylinders. After completing the hand forms, I duplicated the SubTool containing the hand and connected each copy to an arm.
At this point, the basic human body model was completed. The next step was to make further adjustments, check the body proportions, and sculpt the facial features and hair.
Since my character is female and has long, thick hair, I began the hair sculpting process by inserting a sphere. I then used the Move Brush to pull and reshape the sphere into the basic form of the hair before adding more details.
2.3 Project 2 - Character Detailing and Texturing
Project 2 was a further development of Project 1. Based on the model completed in Project 1, we needed to improve the character’s body structure and muscle details, add the clothing parts except for the accessories, and apply basic colours.
Before adding more details, I merged some of the SubTools containing the body forms and then remeshed them. I used the Smooth Brush to blend the connecting areas between the different forms, making it easier to sculpt the character’s body later.
Using the basic body forms as a foundation, I further developed the direction and shape of the muscles. After receiving suggestions for improvement during the lecture, I continued refining the muscle details of the body.
Next, I worked on the character’s clothing. My character wears a tight-fitting outfit, and I used this method together with the Extract function to complete this part quite quickly.
The part that took me more time was making the character’s shirt-style collar. I tried a new brush function to create this part, but since it was not one of the brushes I usually use, I had to try many times.
For the shoes and some clothing accessories, I still mainly used the Extract function to make them. Next was the cape. I first tried to create the cape by inserting a flat rectangular shape. However, when I was adjusting the topology of the cape model, the cape was often too thin and created many small holes. So I tried another method. I used spheres to sculpt the folds of the cape around the neck, and then inserted a rectangular shape to create the larger back part of the cape. I did not use the cloth simulation function shown in the tutorial because it was not the effect I wanted. It would have made the cloth look too soft.
2.4 Final Project - Polishing and Dynamic Posture with Props
In Project 2, my character model was already close to being complete. Next, I needed to change the pose of the character model and use further refinements and movement to show the character’s personality more clearly, so that I could finally complete a full character model.
At the beginning, I tried using masks to select and move different parts of the body. As shown below, I tested two different ways of moving the model in ZBrush, and the second method was more suitable.
The first pose adjustment did not go very smoothly, so I started again and chose a more dynamic pose that better matched my character’s personality.
After setting the pose of the character model, I removed the clothing and accessories and sculpted the body again. Since the shape of the muscles changes with movement, I needed to adjust the character’s muscles according to the new pose.
After adjusting the body muscles, I began sculpting details such as the clothing folds that changed with the pose. I also resculpted the cape using the technique that Mr. Kannan demonstrated to me during the lecture.
After finishing the character sculpt, I added a simple handheld item for the character, which was a floating ring-shaped weapon.
The next step was to render and add colour to the character model. I did not use textures. Since my character theme was based on the Marvel universe, I looked at some character models from Marvel Rivals as references and refined the colours through painting.
After completing the character model in ZBrush, I exported the images and used Photoshop to create my model poster. I also referred to the character presentation pages from Marvel Rivals and added the personal logo I designed for my character, along with a short character introduction. Part of the text was covered, but I wanted it to be part of the poster layout and serve only as a decorative element, so I did not change it.
3. FEEDBACK
For the character views that I planned to use as sculpting references, Mr. Kannan suggested that the character’s arms should be naturally extended away from the body instead of resting against the sides. Otherwise, the views would be less useful as sculpting references.
WEEK 5:
There were no major problems with the basic body forms. However, in the side view, the character’s centre of gravity seemed slightly unbalanced. This made the character look a little unstable from the side, so it needed to be adjusted.
WEEK 6:
WEEK 7:
WEEK 8:
The facial sculpt needed to look sharper. The eyeballs and the head should be kept as separate SubTools and should not be merged.
WEEK 9:
I could continue adding more details to the model, such as clothing accessories and facial features. The hair should have a clear flow, and the different sections of hair should overlap and weave through each other.
WEEK 10:
The basic colouring looked a little plain. I could add some skin tones to the white clothing and include environmental colours on the clothing and accessories to make the model look richer and more lively.
WEEK 11:
Mr. Kannan demonstrated how to create a thin and stiff cape. He used basic shapes and deformation tools to create the form and folds of the cape.
WEEK 12:
The model needed to be sculpted with sharper and more defined details. I could use the character modelling style of *Marvel Rivals* as a reference, which would also help show the personality of the female hero.
4. REFLECTION
The Anatomy and Character Sculpture module was a completely new challenge for me, as it was my first time creating a 3D model. I have to admit that it took me quite a long time to get used to using ZBrush. I even needed to write down different sculpting techniques and shortcuts in my notebook so that I could remember them.
Fortunately, Mr. Kannan was always there to guide us whenever we faced difficulties. During the lectures, he demonstrated many useful techniques that we could apply in the sculpting process. He also taught us important knowledge about human anatomy. The lectures were very interesting, and I learned a lot from them.
While completing the assignments, I felt that I was constantly learning and practising new skills. Every small success made me feel satisfied and happy. Seeing my character gradually become more complete also gave me a strong sense of achievement.
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