the horse is now fully rigged with a pose-able armature (he has “bones” and can be moved), and is no longer confined to his default stance. of course, the bones won’t be visible in any end product/rendering, i simply did an overlay for education and effect. previously, all images of the horse had been rendered (3d scene captured as a 2d image) in zBrush—this is the first image posted that was rendered in Blender. now that this work is done, i can finally move on to give him some color, and after that, hair, and after that, done with horse production!
look this gift horse in the mouth
a quick view of the pieces that make up the horse’s mouth and a glimpse at some of the finer details i put into the sculpt, which include wrinkles around the eyes, and veins. i threw a couple of temporary colors on the horse for a less sculptured look. i’ll be working on UVs, texturing, and rigging next. i’ve been debating what approach to take for the horse’s body hair (excluding the mane and tail): i could use Blender’s hair simulation (which is only usable within Blender), or i could sculpt and paint the hair directly on the model in zBrush (which would allow the creation of texture maps capturing that detail to use in other programs such as Poser, and Blender, too). I’ll eventually do both, but for now i’m leaning toward the sculpted-painted hair. the next image i post will be of the horse in a pose, taking advantage of his new bones.
this image depicts the horse’s new mesh topology (placement of polygons) on the left alongside the old polygon structure for the horse on the right. this “re-topologizing” is done (in zBrush) for a couple of reasons. 1) it helps the order and “flow” of the polygons more closely follow the shape and structure of the final sculpted form—giving better definition of the final shape at lower polygon levels, and 2) allows better deformation (bending) in areas like the joints when i am ready to give him bones for posing and animating. now that the retopologizing work is complete i can do things like texture the horse (give him color and other detailed surface definition), unwrap his UVs to apply that texturing in Blender, rig him for posing and animation (give him bones that deform his legs, head, neck, etc.), and continue on with other models that need to be created for this polo project.
a viewport (workspace) render of a horse model i’m creating for a polo project for my uncle. the line-up consists of the horse at base mesh level on the far left at only ~400 quadrilateral polygons all the way to the nearly-completed muscular sculpt on the far right at ~1.5 million polygons. some finer details are still needed before sculpting can be considered finished, which will require even more polygons and new topology for future rigging and animation. zBrush render, 2008.