La semana pasada que no tenÃa trabajo - Otro (especificar) (sd0211)

The chest is built around the bony structure of the ribs, spine, shoulder blades, collarbone, and breast- bone (Figure 6-13). These bones support the mus- cles and protect the internal organs. In its most basic form, the chest is cone-shaped. Twelve ribs on each side form the walls of the upper torso.

Each rib fastens to the spine, and the top nine are also attached to the breastbone in front. The upper torso bones greatly influence the muscles. These bones will often show on the surface and affect the outside structure. Modeling the chest incorporates this bony framework. The collarbone and shoulder blades define the top shape of the chest and make it seem wider than it is. The movement of the shoulder bones is significantly noticeable under the skin. The spinal column is discernible in the center of the back. The breastbone forms a flat, downward wedge in the middle of the chest. The lower part of the ribs is often visible along the for- ward sides of the chest.

Fig. 6-14The muscles of the neck.

Fig. 6-15The muscles of the upper body.

influences the pattern of the muscles, hence deter- mining the shape of the lower abdomen. On the sides, you can usually feel and see the upper con- tour of the pelvis. All the actions that the human body is capable of originate in the back of the lower torso. From the hips and pelvis, these move- ments are transmitted up and down the entire body.

The Muscles of the Torso

The visible muscles of the front neck start behind the ears, angle toward the center of the breastbone, and attach to the collarbone (Figure 6- 14). The back of the neck has a large triangle- shaped muscle named the Trapezius. It supports

Fig. 6-16Torso Steps 1–10. 1) Selecting or making a polygon at the bottom of the neck and beveling it down. 2) Starting the torso shape by making it broader. 3) Slicing across in several places and moving points in at the waist. 4) Dividing polygons some more for extra points that are moved to improve the torso. 5) Dividing polygons and pulling/pushing points to make the neck and collarbone. 6) Splitting polygons at the upper back to form the shoulder blades. 7) Merging polygons in the breast area and beveling outward. 8) Beveling the breasts again and forming the shape around the nipples. 9) Beveling several times to make the nipples. Dividing the breast polygons and moving points to improve its shape. 10) Splitting polygons and pushing/pulling points to form the lower ribs and navel.

Fig. 6-17Steps 11 and 12. 11) Dividing the polygons at the lower abdomen and pushing/pulling points below the navel. 12) Splitting polygons at the back of the pelvis. Points are moved to shape the buttocks, the hips, and the two dimples of the pelvic crest.

the weight of the head in the back.

The chest muscles proceed outward toward the arms to form the front wall of the armpit (Figure 6-15). The trapezius muscle that originates at the base of the skull radiates across the back of the neck toward the shoulders and down, where it con- verges in the middle of the back.

It is interesting to note that muscles do not end at the joints. Rather, they cross over them to attach to bones on the other side. Mobility would be impossible if the muscles did not cross over joints. Since the muscles become thinner at the joints, beginners often think muscles end there. So the tendency is to draw, sculpt, or model the figure as if it was made up of separate sections. Sometimes this is called the “sausage-link syndrome.”

A vertical central groove divides the front part of the torso. It originates at the pit of the neck and ends at the navel. To the artist, it is useful for plac- ing the masses of the chest.

When the arms are raised, the abdominal (or thoracic) arch becomes a highly visible form below the rib cage. It almost acts as a line separating the

upper torso from the lower one. The upper part of the torso is more bony in appearance, while the lower torso has a fleshier look. The waist is high on the female, and the buttocks form a butterfly shape.

Modeling the Torso Steps

Step 1 (Figure 6-16). At the base of the neck, select the polygon or create one first from the points there. Bevel it down to the groin area.

Step 2 (Figure 6-16). With symmetry on, make the torso wider.

Step 3 (Figure 6-16). Slice across polygons to divide them. Move the extra points to create a rough shape of the torso.

Step 4 (Figure 6-16). Split polygons on the torso again and model the curves of the back and sides. Step 5 (Figure 6-16). At this point, you can delete half the torso along the 0 x-axis. You should find it easier to just work on one half and later mir- ror duplicate it. The illustrations show both halves so they can be seen in relationship to each other. Divide polygons at the front of the neck and upper

Fig. 6-18The female torso in low polygon mode.

torso. Push/pull points to shape the neck and col- larbone.

Step 6 (Figure 6-16). Model the shoulder blades after splitting polygons.

Step 7 (Figure 6-16). Merge the polygons at the breast and arrange the points to form a round shape. Bevel extrude this polygon.

Step 8 (Figure 6-16). Bevel out again so that the polygon becomes smaller where the nipple begins. Remember that the breasts point outward and the nipples up.

Step 9 (Figure 6-16). Bevel the nipple out and in about four times. Weld the points at the tip. Refine the shape of the breast. You may need to mirror the torso just to see the relative distance between the two breasts. Of course, their shape varies a

great deal and should be proportional to the size of your model.

Step 10 (Figure 6-16). Split and model the poly- gons of the lower ribs and navel.

Step 11 (Figure 6-17). The front of the lower section of the torso should now be split into smaller polygons. Push and pull points to make the shape of the hips, the plateau of the navel and abdomen (which are mostly covered with fat), the pubic arch, and the slight hollow where the upper legs join the torso.

Step 12 (Figure 6-17). Model the back of the lower torso. Divide polygons and move points to shape the buttock and the dimple at the pelvic crest. After making sure that the points at the seam are on the 0 x-axis, mirror duplicate the half- torso. The points along the 0 x-axis and base of the neck should merge. With symmetry on, con-

tinue shaping the buttocks. You need to have both halves of the torso visible in order to model this part correctly.

Figures 6-18 and 6-19 show the finished torso in low polygon and subdivision mode.