“The secrets of Swimsuit babe ” by CGriders
Note that at the beginning stage of modeling, the arm was built at its stretch-out pose. That’s why the marks for the arm were placed horizontally in Fig. 2.5.1. It was then rotates to the final downward pose in order to model the shoulder. In Fig. 2.5.1, the following items are measured:
?? Height of body: 8 units
?? Width of shoulders: slightly less than 1 unit from middle of body
?? Height of neck (distance between chin to shoulder): 1/3 unit
?? Length of arm (from middle of body to end of middle finger): 4 units
?? Length of foot: slightly longer than 1 unit (25.5cm)
?? Length of hand: 2/3 length of foot
?? Position of back of little toe from tip of big toe: 1/4 length of foot
?? Ratio of length of perimeters around waist and hip: 0.66 (ideal ratio is 0.7)
?? Position of nipples: 2 units from top of head
?? Position of bottom of breasts: 2 1/3 units from top of head
?? Position of navel: 3 units from top of head
?? Position of crotch: 4 1/3 units from top of head
?? Position of bottom of knees: 2 units from heel
?? Position of elbow when arm is down: about level of waist
?? Position of wrist when arm is down: 4 units from top of head
?? Width of waist: 1 unit
?? Inner length of forearm after elbow is bended 90 degrees: length of hand
Apart from check points, a rectangular object was created to help making the leg’s silhouettes in the front and side views.
Torso
The thing about modeling the torso is to create proper structures at where the bones are prominent. They are clavicle, scapula, ribs and sternum. The important soft structures are breasts, stomach and navel. The edge flows are in accord with these hard and soft structures. Similar to modeling the head, I started with a cube, roughed out the shape and then changed edge flow revolutionarily. The only part being built separately was the breast which was a half sphere. Alternatively you can build the rib cage, calvicle, scapula and stomach separately and then combine them afterwards.
Arm
I think the arm is the most difficult part to build due to the delicate change in directions of the contour along its length and the requirement of a bended elbow in the target pose. It’s easier to build if it’s a man’s arm. A woman’s arm is very delicate and looks just like a primitive cylinder with very subtle changes in its surface. You actually need a complex structure to incorporate these changes. I do not think the one I built was a good one.
I needed a topology at the elbow that could let me tweak for a proper shape when it is bended 90 degrees. So I needed to change the model after it has been rigged. This process was performed a few time before finished.
Leg
The leg was a bit easier to build as I didn’t need a bended leg in the pose I wanted. Just follow the edge flow along the muscle structure underneath. Do not exaggerate the gastrocnemius (back of lower leg), otherwise the leg will look terrible.
Hand
A skeleton was built for the sake of measuring lengths of fingers as shown in the following figure:
Fig. 2.5.2 Model on top of skeleton
Each section of the fingers was created separately out from a cylinder with 8 divisions around axis and 2 along length. They were parented under respective joints. Then they were combined with the palm which was also a separate object. The knuckles and wrinkles were constructed afterwards.
Foot
I’ve found the position of the little toe very important in determining the overall shape of the foot. It’s located back about 1/4 (or more) the length of the entire foot. That’s why I put a check point for it before proceeding to construct the toes, otherwise you’re wasting your time. All the toes except the big toe are bended downward. Do not try to make the tendons of toes prominent like those of the fingers. In other words, the topology should not imply them at all. Keep rotating the foot to see the arches formed and where the bones jut out and compare them with the references. Note how the tibia juts out to form a hollow area below it when the foot is pointed down. The final model is shown in Fig. 2.5.3.
Fig. 2.5.3 Wireframes
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