Pipeline 2 - Jetpack Jones: The Eyes and Nose

 The Eye Lids

  Selecting the geometry around the back of the head, we extract and then place this onto a layer. This allows a better viewing of the face in the front view. Focusing mainly on the corner of the eye, we carefully sculpt to gain a better shape for a future blink. We have to consider the eye lids, even though they are not present in the orthographies.

  Transferring details from cartoon drawings to 3D can cause size issues with the eyes, normally this leads to showing the too much of the eyeball. This means using a bit anatomy understanding to get this shape correct. We still need to try and keep the shape of the characters eye, so moving between the front and perspective views helps.

  Once happy with moving the vertexes around, we add another edge loop and continue to sculpt. Sometime when being placed back into smooth mode, we will need to bring out the volume of the head as it can get lost. We did this for the nose as well, cleaning up as we go is really important.

  Next we add a loop around the eye, and move it backwards to give us a indentation of the eyelids. Going back into non-smooth, we need to avoid any twisting geometry. When all cleaned up, we continue to add loops around the eye and sculpt the lids.

  Selecting the loop around the eye, we extrude together so create the main line of the eyelids. Continuing with the sculpting, we smooth out the eyelids to give them a more defined look. Also, we want to create a small lip at the bottom, this is for the eyelashes and gives more definition. When completed and cleaned up again, we extrude from the inner edge of the lids inwards towards the eye. Selecting the Eyeball (Nurb),  we make it a “live” object. This becomes a target for vertexes to point snap to and assists in giving the desired shape for the lid. 

  To finish off the eyelid, we extrude back in towards the head so to round off the lids. If we have done this right, it should fit perfectly around the eyeball. If there are any gaps, we can just make small adjustments.

The Nose

The next step is the Nose. To help our sculpting, we use the orthographies to place curves as a supportive guide. For the nose, we will build it face by face so to gain the full sculpting capacity. So, the first step is to select all the geometry in the nose area of the front and side view, then delete. This leaves us with a large gap to start sculpting the nose outline and to extrude from.

  Starting with the nostril, we extrude and create the outline shape. The bridge needs to turn inwards so it fits the dynamics of the nose, using the bridge to connect the face and the nostril together. We need to make sure the nostril is rounded out.

  Using the multi-cut tool, we create a loop to act as a support around the bottom of the nose. We have a triangle at present, but this will be removed. Selecting the edges of the nostril, we extrude upwards to build the nose base, using both the front and side views to capture the volume. Creating a vertex to snap to, we continue to extrude upwards in stages to build the shape of the nose. 

  Using the different views, we need to check for any buckling, bringing back the volume where needed. Once we reach the top of the nose and finished extruding (and snapping), we create the last piece of geometry at the tip of the nose and merge together. Although we now have more geometry, we will need more to be able to sculpt correctly and get the right shape. Holding the shift key, we place more edge-loops to soften out the shape, then clean up the vertexes.

  When mirroring the head, we can see that the nose is much too pointed. Using the symmetry setting in the move tool, we bring vertexes out to round out the tip of the nose. We can also use this tool to thin the bridge of the nose and create a bit of definition around the nostrils. To improve the appearance of the nostrils, we cut in a rams horn shape with the edge cut tool. This will help support the crease around the nostril bulb. With the added loops though the center of the heads, we have to keep sculpting to avoid any tramlines.

  For the holes in the nostrils, we bridged the gap and then extrude inwards to create a rolling round effect. We still have to avoid twisting the geometry, so we continue moving and sculpting the vertexes so they are straight. Selecting the main edges of the nostril holes, we bridge the gap, extrude up and rotate so it faces the entrance. Then taking the edges, we can expand them outwards so to cover the entrance. Adding more loops to the nostril interior, this stops texture stretching and warping.