• Create BookmarkCreate Bookmark
  • Create Note or TagCreate Note or Tag
  • PrintPrint
Share this Page URL

Chapter 10. Organic Modeling > Completing the Face

Completing the Face

Okay, you’ve modeled the eyes, eye area, mouth, jaw line, and nose. But you still need to perform a few more steps to complete the face. Get some coffee, and then continue.

Exercise 10.16 Creating the Cheeks

In this exercise, you will go back to where the lower cheekbone edge joins the bridge and fill in the gap between it, the nose, and the upper lip edge.

Use the Extender tool to multiply and duplicate the three points from the side of the nose around the bottom of the cheek. (Don’t forget to clean up after extending.)

Align, making sure your polygons are facing outward, and then weld the border vertices of this new geometry at both the upper edge, where it meets the cheekbone, and the lower edge, where it meets the top lip surface. Figure 10.48 shows the filled gap.

Figure 10.48. The highlighted polygons show where the gap has been filled.

Continue in a similar manner to fill in the much larger gap between the jaw and the rest of the cheekbone surface:

Select the five points at the left edge of the cheek/mouth area.

Use Extender and then move (t) the points to the left and back so that they match up with the next row of points on the jaw and the cheekbone. Weld the border vertices at the top and bottom. Your model should look like the one in Figure 10.49.

Figure 10.49. Here is the cheek surface after filling in one row of polygons.

Continue to use the Extender tool and move the cheek edge points so that you completely fill the gap between the jaw and the cheekbone. Remember that you can use the Drag tool on selected points as well.

Clean up the unwanted back polygons and align the remaining geometry.

Weld the edges, select the cheek polygons, and press Tab when you’re done to activate SubPatch mode. Figure 10.50 shows the finished cheek structure.

Figure 10.50. The cheek completes the face by filling the last gap.


The polygon selection in Figure 10.49 marks an interesting structural feature. The point in the middle of the highlighted area is attached to five patches instead of the usual four. (Although you’ve actually created a few five-patch intersections already—look closely at the nostril area, for instance, where there are several—this one is a much clearer example.) Five-patch intersections are useful for joining areas with differing contour structures or patch densities. In this case, you have the circular area of the mouth and lips joined to three much more planar arrangements of polygons that form the jaw, cheek, and cheekbone surfaces.

However, five-patch intersections also can cause a few problems of their own when sculpting a surface. Because the vertex in the middle is attached to five patches rather than the usual four it has an unduly large influence on the local shape of the surface compared to its normal neighbors (which are only attached to four polygons). So you’ll have to position this point with extra care. The surface around the intersection point doesn’t tend to smooth as consistently as normal and will have a much greater tendency to crease.

With that in mind, it’s a good idea to try to stick them in areas where you would expect to see a crease anyway. In this case, they lie at the natural crease zone between the mouth and the cheeks.

Instead of repeating this for the right side, use the Volume Selection tool at the bottom of the Modeler screen to delete everything on the positive side of the x-axis. (You should be left with exactly half a face on the left side.) To do this, select the Volume tool, and drag around the desired points. With the Statistics panel open (w), press the plus key next to Points Inside, and press the Delete key.

Make sure all the points lying near the 0 x-axis are positioned exactly on the 0 x-axis by using Set Value (Ctrl+v).

Mirror the face over x with Merge Points on.

Finally, go over the whole face (use Symmetry mode to update both sides at once) and make changes to the shape of any areas you feel need refining with the Drag and Stretch tools. Once again, it’s generally best to select small groups of points at a time to do this. You also can drag one point at a time. Save your work.



Not a subscriber?

Start A Free Trial

  • Creative Edge
  • Create BookmarkCreate Bookmark
  • Create Note or TagCreate Note or Tag
  • PrintPrint