A study of the importance of anatomy in

character modelling and design

An Innovations repor t by Christian Bull

NCCA 2006
Contents

Abstract 3

Introduction 3

Buil ding the mesh 6

­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­

Creating the characters

Christian the Human 6

Serr akor the Daem on 10

Gruncher the Troll 16

Arayeus the Wizard 20

Trevor the Zom bie 23

Marco the Cher ub 30

A note on props 36

­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­

Creating the morph 37

­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­
Critical Evaluation 39

­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­
Reference 41

2
Abstract

Th is p ro je ct i s a st u d y of th e i mp o r t a n ce of a n a to my i n ch a ra cte r d e sig n . Th e
p ra c tic a l s id e is e sse n ti a l ly six d i f fe re n t ch a ra cte r s c re a te d o u t o f th e exa ct
sa me m e sh , e a c h w it h a d i f fe re nt p hysi q u e b a se d o n a re al b o d y str u ct ure , w it h
o n ly s li g ht ch a n g e s m a de to cre ate a ch a ra c te r ­ t h u s th e ch a ra cte r is la rg e ly
d e f in e d by it s a n a to my. B y m o r p hi n g b et we e n th e se , th e f i na l p ro d u ct (a t h ir t y
se c o nd a n im a t i on ) di sp lays ho w th e bo d y c h an g es . T hi s m ea n th at th e viewe r
ca n s e e t h e m u s cl es we a ke n in g , or th e b o n e s g row in g , o r fa t for m in g , o r
w h ateve r c h a n g e th ey a re view in g , t h u s h e lp i n g th e m to u n d e r st a n d h ow m a ny
d i f fe re nt ch a ra c ter s ca n b e cre a te d o u t o u r exi st in g n a tu ra l d e si g n , a n d
h o p e f u lly e d u c a t in g t he m in a n en te r ta in i n g way. I t sh o u ld b e stre s se d th a t t h is
is n ot a st u dy in to c h a ra cte r d e s ig n ­ a ny o f th e c h ar a cter s in th i s pr o je ct co u l d
b e i nf in itel y m o re fl es h e d o u t , b u t o ne of th e id e a s b e hi n d t h e p ro je c t wa s to
h ave a s m in i m al c h a n g e f ro m re a li ty a s p o s sib le , to sh ow h ow re al a n a to my ca n
b e t he b a sis o f m a ny ch a ra cte r s.

Th e fo llo wi n g re p o r t is la rg e ly in te n de d fo r ot h e r st u d e n t s w h o wi sh to cre a te
b e lieva b le c h a ra cte r s in t h e ir wor k, o r u n d e r st a n d h ow to g o a b o u t d o i n g so . I t
d o cu m e n t s t h e f in d in g s m a d e a b o u t t h e a p p e a ra n ce o f e a c h b od y st r u c tu re ,
a n d th e re a s o ns fo r w hy t he ch a ra cte r s l oo k li ke th ey do . Re fe re n ce p ic t u re s
a re n ot in cl u d e d , a s th ey were to o n u m e r o u s to b e in clu d e d, b ut in fo rm a t io n
a b o u t w h ere to a cq ui re u s e fu l re fere n ce fo r e a ch ch a ra cte r ca n b e fo u n d in t he
re p or t . Si n ce m o st b od y t yp e s a re c ove re d in so me way by t h e six c h a ra cte r s, i t
is h o p e d t ha t t h is ove ra ll d o c u m en ta t io n o f th e m o d e lli n g pr o ce s s wo u l d b e o f
u se to a nyo n e t r yi n g to crea te a re a li st ic ch a r ac ter. G ive n th e a r ti st i c n a t u re o f
t he re p o r t , it wa s co n s id e re d m o re a p p ro p ri ate to w r ite it sl ig h t ly i nf or m a ll y a n d
t hu s m a ke it m o re ap p ro a ch a b le .

Introduction

I t was no t t h e in te nt io n of t h i s p ro j ec t to j us t m o d e l c lo n e s o f re a li st i c bo d y
t yp e s , si nc e yo u are a lre a d y su rr o un d ed by re fe re n c e m o re ac cu r ate a n d
re al ist ic th a n I co u l d eve r h o p e to a ch ieve in a m o d e l (yo u r own b o dy, for
exa m pl e ). I n ste a d , I h ave t ri e d to d e m o n st ra te ho w we ca n u s e t h e a n a to my o f
t he h u m a n b o d y a s a ba se f ro m w h ic h to evo lve o u r ow n ch a r ac te rs . I cove r t h e
ext re m e s o f mo st d if fe ren t h u m an bo d y t yp e s ( n o r ma l, m u scu la r, o b e s e ,
o ld / t h i n, yo un g) , a n d to u c h u po n b o r row in g tr a it s f ro m oth e r cre a t u re s. I t
sh o u l d b e n oted t ha t t hi s is n ot a g u i d e to h u m an a n a to my, t h e re are p l en t y o f
t ho se a lre ad y (fo r d et a i ls , c h ec k th e refe re n ce se c ti o n at t he e n d) , a nd a b a si c
u n d e r st a n d i n g o f h u m a n a na to my is ex pe cte d if t h e re a d e r w ish e s to c re a te
t he ir o wn ch a ra cte r s. I n cl u d e d (f i g ure 1) is a pa g e f ro m “ An a to my for t he A r ti st ”
( se e re fe ren ce ) sh ow in g t h e s u p e r fi ci a l m u s cle s o f t h e b o d y, to u se a s

3
re fe ren ce wh e n re a di n g t h is re p o r t .

Fo r t h o se i nte re sted in m o r p hi n g , t h e tec h n i q u e s u se d a re al s o cove re d a t t h e

e n d o f t h e re p o r t . I fee l t h a t t he se a re a so l id b a s e fr o m w hi ch to ex p lo re m o re
a d va n ce d m o r p h in g te ch n i q u e s.

fi g 1 ( Su p e r fi ci a l m u s c l e s o f t he hu m a n b o dy f ro n t an d ba c k )

4
B ui l d i ng t h e m e s h

A lt h o u g h t h is i s a p ro je c t in a n a to my, a n d t h u s st ri ct ly s p ea kin g t h e to p o l o gy of
t he 3 d m e sh is i rrel eva n t , b ui l di n g a g o o d to p ol o g y b a s e d u p o n a n
u n d e r st a n d i n g of t he h u m a n b o d y m a ke s t h e m o d e ll in g t a sk e a s ie r, a s t h e
e d g e s f low al o n g th e co n to u r s o f t h e b o d y. S o u n d e r st a n d i ng w hy t h e to p o l o g y I
m a d e i s th e way it i s w il l h e l p in u n d e r st a n d in g why th e c h ar ac te r s a re t he way
t ha t t h ey a re, a n d vi sa ve r sa . A ls o it i s like ly th a t if yo u a re re a d i n g th is for
re fe ren ce , yo u a re b u il d in g a ch a ra cte r fo r a ni m a t i o n, an d th us a g o o d to p o l o g y
is vi t a l. Fi g u re s 1.1 a n d 1.2 sh ow t he way t h at t h e e d g es in th e b a s e m o d e l
fo ll ow th e d ef i n in g fea t ure s of t he hu m a n b o d y.

Fig 1.1 above, fig 1.2 below, outlining the reasons for certain edgeloops

5
Creating the Characters

Th is s ec t io n wi ll o ut li n e why e a c h ch a ra cte r l oo ks t h e way t h ey d o . Fo r cla r it y,

t he pi c tu re s a re s cre en sh ot s fr o m th e o ri gin a l m o d e l s c re a te d in Z b r u sh , ra t h e r
t ha n re nd e r s in M aya , w hi c h l ost so me o f th e d et a il s (se e co n cl u si o n) . Th i s
d o e s me a n th a t ce r t a i n el e m e n t s (m o st n ot a b ly eye s a n d te et h ) wh i ch were
cre a ted i n M aya a re n ot se e n i n th e se pi c tu re s . P l e a se al s o n ote t h a t t hey a re
o r t h o g ra p h i c, s o th e re i s n o p e r sp ect ive di sto r t io n.

Th e d e sc ri pt i on o f th e cre a ti o n p ro c es s i s b ro ke n d ow n in t h e fo ll owi n g way –

Fir st ly t h e a g e a n d b o d y t y p e of th e ch a ra cte r is d e fi n e d , s o th a t it is cle a r
w h at t y pe o f p hysi q u e h a s b e e n t h e i n fl u e n ce fo r t h at ch a ra cte r. T h e n , if
a p p ro p r ia te, a vi su a l exa m p l e of ho w th i s b o d y ty p e l oo ks in re a l it y. E a ch
n ot a b le pa r t o f t he a n a to my wil l t h e n b e exp l a in e d wi t h refe re n ce to t he
f in is h e d m o de ls, so t ha t t h e re a d e r m ay f u lly u n d e r st a n d wh a t d e f i ne s th e
sh a p e of th e ch a ra cte r s .

Th e a ct u al m o de li n g it s e lf is to u ch e d u p o n in t h e m o r ph in g se c ti o n , b u t
e ss e nt ia l ly ea ch m o d el is b a se d o n th e s am e low p ol y m es h , wh i ch is p o s ed i n
m aya a n d t he p o s e is t h e n t a ke n to Zb r us h for sh a p i n g. I mp o r t a n t ly, a ll
ch ar a cte rs we re m o d e l le d a s ym m et ri c al ly, to c re a te a m ore n a t u r al lo o k ra th er
t ha n t h e p er fe c t s ym m et r y o f te n se e n in cg . Th i s invo lve d m od e ll in g th e t wo
h a lves o f t h e b o d y en t irely se p a ra te ly, ra th e r t ha n mo d el l in g t h e m w it h
sy m me t r y a n d t h e n c ha n gi n g t h e m to m a ke t h e m a s ym m et r ic al, w hi c h I fe l t
co u ld b e ra t he r fo rc e d .

6
C hr i s t i an t h e H um a n

Ag e ­ 2 8
B od y t yp e ­ At h let i c

Th e m a n wa s in te n d e d to b e a s cl os e to a re al m an as co u ld b e m od e lle d g ive n
t he t im e c o ns tr ai n t s o f t h e p ro je c t. I t was im p o r ta n t fo r hi m to an a to m ic all y
co rrect , b e ca us e t hi s a llow s t h e a u d i e nc e to fol l ow th e p ro g re ss io n o f h i s
b o n e s, fat a n d m u scl e s, a n d o b se r ve h ow t hey c h a n g e i n d if fe re n t b o d y t yp e s.

Th e st a r ti n g m a n wa s m a d e to b e a n at h l et ic b u i ld for a c ou p le of rea so n s .
Fir st ly, it wa s a p p ro p r ia te to m a ke a to p o l og y th a t ca tere d fo r t h e m ai n mu s cle s
in t h e b o d y, a s m o st o f th e c h ar ac te r s i n t h e p ro je c t wi ll h ave so m e d e gre e o f
m u sc le d e f i ni ti o n . S e co n d ly, th e a u d ie n ce i s a b l e to cle a rly se e t h e for m s an d
sh a p e s cre a te d by th e h u m a n b od y, a n d t ra c k t hi s a s h e m o r p h s in to d if fe re n t
p hys iq u e s. Fo r t h e p u r p o se o f t h is re p o r t , I wi ll g o t hr o u gh t he la n d m a r k
sh a p e s cre a te d by th e a t h le ti c h u m a n b od y a n d w hy, so t h a t t he sh a p e s o f t h e
oth er ch a ra cte r s may b e be tte r u n d e r sto o d .

Fig 2 (Human front)

Fr on t

7
Fro m th e f ro nt ( fig 2) , we s ee we ll d e f in e d a b d o m in a l m u s cle s. I t i s e a sy a n d
te m p t in g to over d e fi n e th is are a , b u t ou t sid e o f ve r y mu sc ul a r o r ve r y th i n
p hys iq u e s th e re is n or m a ll y n ot a lot of sh a r p de f in i ti o n h ere , a n d a “si x­ p a ck ”
in a re la xe d f ig u re is rare .

A bove t h e m a re th e p ec to ra ls. I t sh o u l d be no te d th a t th e s e in s e r t u n d e r n e a t h
t he d e l toi d mu scl e s (t h e sh o u l d er ), a n d t h us are a f fec te d by a rm m ove m e n t . A s
t he ch ar a cte r h a s h i s ar m s o u t st re t ch e d h ere we s e e t h e pi cto r ia l s a re
st ret ch e d to o , a s th ey a re be in g p u ll e d u p wa r d s. I f th e c ha ra cte r ha d h is ar m s
by hi s si de , we wo u ld exp ect to se e s lig h tly b ul k ie r­ lo o ki ng p e cto ra l s.

Th e ste r n oc le i d o m a stoi d mu scl e ru n s f ro m t he b e h in d t h e e ar to t h e clav icl e a t

t he f ron t, cre at in g a cu r ve in t h e si d e o f t h e ne c k.

Fro m th e f ro nt o f t h e le g s , we c a n se e t h e sh a pe s cre a te d by th e q u a d r ice p s ­

t hre e of t h e m for m sh a p e s vi si bl e o n t h e su r f a ce . Th e bu lg e ab ove t he kn e e o n
t he in sid e o f th e le g i s t h e va st u s m e d i al i s, in th e mi d d l e i s th e re c tu s fe m o r is,
a lt h o u g h st ro n g d e fi n it io n o f t h is wo u l d o nl y b e n ot i ce a b l e in ve r y m u sc u la r
le g s, a n d t h e va st u s l ate ra l is o n th e o u t si d e o f t he l e g, d e f in in g th e cu r ve d
sh a p e o f th e l eg t h ere . A ls o n ote th e d i ag o na l lin e sl ig h t ly vi si bl e ru n n i n g f ro m
t he o u te r h i p re gi o n a cro ss t h e le g , do wn to th e kn e e . T h is is t h e sh a p e for m e d
by t h e q u a d ri c ep s, a s t hey a tt a ch to t h e o u te r re g io n o f t h e h ip . Th e sa r tor i us
m u sc le r u n s al o n g t hi s lin e , su p e r f ici a lly se p a ra ti n g t h e q u a d ric e ps f ro m th e
m u sc le s o n t he in s id e o f th e t hi g h . Th e mu sc le s o n th e in si d e are mu ch
sm a l le r, t h u s c re a t in g t h e a p p e ar an ce o f t h a t d ia g o n a l l in e . If yo u l oo k o n th e
in s id e o f t h e k ne e , yo u ca n se e t h e s ha p e cre ate d by t h e s a r to ri u s a s it w ra p s
a ro u n d t h e vas tu s m e d ia lis a n d i nse r t s ju st b e lo w th e k ne e .

Th e q u a dr ic e p s a re l e ss d e f in e d in m o st p e op le , a n d we wo u l d n ote exp e c t to
se e t h e ir s h a pe s so cl ea rly, e s p eci a l ly a s m o st p e o p l e h ave a d ep o si t o f fa t ju st
a b ove t he kn e e , b u t t h ei r s iz e d e f i n e s th e sh a p e o f th e u p p er le g o n a l l b ut t h e
m o st o b e s e o f ch a ra c te rs.

Back

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Fig 2.2 (Human back)

I have fo u n d t h e b a c k ( fi g 2 .2 ) to b e th e m o st d if f ic u lt p a r t o f th e b o d y to cre a te
re al ist ic a lly. T h e p ro b le m he re is t ha t i t lo ok s ve r y d if fe re n t d e p e n d i n g o n t h e
b u ild o f th e ch a ra c te r, a n d t h e p o s it io n of th e b o dy. I n t hi s in st a n c e I d e fi n e d
t he sca p ul a sli g h t ly (t h e s h ou ld e r b on e ­ cre a ti n g t h e t wo b ul g e s in t h e to p o f
h is b a c k , j u st lower th a n t h e a r ms ) b e c a u se o f th e p o si ti o n o f t h e ar m s . We ca n
a ls o se e t h e sh a p e of h is tr a pe ziu s m u s cle , wh i ch g o e s u p h is ne c k, a c ros s to
t he de lto i ds , a n d d ow n to t h e ce n t re o f h is ba c k. T h e re is ve r y sl ig h t d e f i ni t i o n
o f t h e sp in e in t h e c e nt re o f t h e ve r y top of h is b ac k w h e re it m e et s th e n e c k.
Th is i s a n a re a n ot cove re d by th e t ra p e ziu s , a n d o f te n v isi bl e . U n de rn e a t h h i s
sca p ul a , we ca n se e h is la t i ssi mu s d o r si . T hi s is g e n e ra lly n ot m ass i ve ly
d e f in e d , b u t it i s i mp o r t a n t to u n d e r st a n d t h a t i t in s er ts u n d e r n e a t h th e t ri ce p s
o f t h e a rm , m e an in g t ha t it i s ve r y mu ch af fe cte d by t h e m ove me n t of t he ar m .

Th e u p pe r a r m is de f in e d by t h e b ic e p s, t h e d e lt oi d , a n d t h e t r ic e p s. A s th e
n a m e su g ge st s, t h e t r ic e p s h a s th ree h e a d s, a n d t wo of t he s e wi ll b e cl e a rly
se p a r ate in a m u s cu l ar f igu re , b u t th e n b ot h a t t a c h to t he t ri c ep s te n d o n w h ic h
r un s u p f ro m t h e e l b ow reg i o n al o n g th e b a c k o f th e a r m . N ote t h a t th ere is n o
m u sc u la r d e fi n i ti o n i n th is re gi o n .

Th e b ul k o f th e fo re a r m is c re a te d by t h e b ra ch io ra d i al is a nd t he exte n s or

9
ca r p i­ ra di a li s m u sc le s , w h ich wra p a ro u n d th e a r m , o r ig i n at in g a t t h a t ba c k of
t he a r m by t he e l bo w, a n d in se r t in g n e a r t he t h u m b . Th i s is im p o r t a n t to n ote ,
b e ca u s e it cre a te s t h e c ur ve v i si b le in th e re l axe d fo re ar m . A lso n ote th a t t hey
o r ig i na te slig h tl y h ig h e r t h a n th e e lb ow, a n d hi g h e r t h a n th e in s e r t io n p o in t o f
t he b i ce p s . T hi s m e a n s t h at th e re i s a f low f ro m th e u p p e r ar m to t h e fo re a r m,
a n d t h ey sh o ul d n ot be se e n a s t wo co m pl etely se p a ra te b o d y pa r t s.

R e fe r e n c e

Th ere a re m a ny b o o ks t h at c ove r exa c tl y th i s so r t o f th i n g , so re fere n c e i s e a sy

to ob t ai n . T h e m o st u s ef u l I fo u n d wa s “ A n a to my fo r th e a r t i st ”. “ D raw in g t h e
h e a d a nd f i g ure ” wa s u s e fu l to o, a n d a ls o s cu l pt u re b o o ks a re a g o o d re fere n c e
a s fi g u re s cu l pto r s u n d e r st a n d th e h u m a n for m be t ter th a n m o st . “M o d e ll in g t he
f ig u re i n c lay ” is p a r t i cu l ar ly g o o d , a s it g oe s th ro u g h b u il di n g a h u m an f ro m
t he s ke leto n to t h e mu scle s a n d t h e n fi n a lly t h e ski n. M e d i ca l b o o ks a re u s e fu l
fo r un d er st a nd in g t h e p u r p os e a n d o r i gi n a t io n a n d in s er ti o n p o i n t s o f all t h e
m u sc le s, b ut m ore i m p o r t a nt is to u n d er st a nd t he sh a p e s th a t t h ey crea te o n
t he hu ma n f ig u re , a n d fo r th i s t h e re is refe re n ce eve r yw h e re , e s p e cia l ly fo r
n u d e or se m i ­n u d e m en a n d wo m e n a g ed 2 0 ­ 3 0 . Fi tn e ss m a ga zin e s a n d
we b site s a re a g o o d st a r ti n g p la ce . S e e re fere n c e fo r m o re de ta ils o f t h e b o o ks
m e n t io n ed (a n d o th e r bo o ks u s e d in t h e p ro d u c ti o n o f t h is p ro je ct ) .

10
S e r r a kor th e Da e m o n

Ag e ­ ove r 10 0 0 ( a lth o u g h ref le ct i n g th e bo d y o f a 2 5 ­ 3 5 ye a r ol d h u m a n )

B od y t yp e ­ Ve r y mu s cu l ar
E xa m p l e o f b od y ty pe in r e al i t y –
( so u rce s : b b pi c s. c o m a n d t h e DV D “ P u m pi n g I ro n ” . S e e refe re n ce p a g e )

11
Fig 3(Deamon front and back)

Fr on t

E xcl u d i n g th e he a d a nd ho ove s , we ca n se e th a t t h e f ro n t o f th e d a e m o n is n ot
too d i f fere n t to a n ex t re m el y m us c u la r p e r s o n. I n fa ct , th e re is ve r y li t t l e
“ d es ig n ” to s p ea k o f . Re fere n c e for h i s m u scl e s wa s la rg e ly ta ke n o f f
b o d y bu ild e r s . I fe l t t h a t in o rd e r to ke e p a d e g re e o f re ali s m i n th e ch a ra c te r,
n o m at te r h ow m u scu la r t h ey are , we sh o ul d n ot g o d ow n t h e rou te of j us t
d e f in i ng eve r y sin g le su p e r f i ci al m us cle in t h e h u m a n b o d y. We h ave to b e a r i n
m in d h ow m u c h fa t t y t issu e th e ch a ra cte r h a s (i n th is ca s e n ot a l ot , b ut so m e ),
t he t hi c kn es s o f t h e s ki n (i n th i s c as e t hi c k) , a n d w h a t m u s cl e s a re te n s e d (t h is
o f co u r se i s s o m et h i n g th a t sh o u l d b e h a n d le d a t th e ri g g i n g/ ski n ni n g st a g e in
a n a n i m ate d ch ar a cte r, bu t wa s im p o r ta nt fo r th i s st i ll, p o s e d c h ar ac te r) . For
exa m pl e , th e sa r to ri u s m us cl e t h a t w ra p s f ro m t he o u t si d e of t h e hi p to th e
in s id e o f t h e kn e e is n ot n o rm a l ly vis ib l e, b u t in an ext re me ly m u s cu l ar p e rs o n
it wo u ld be . Ho weve r, th e m us cle s o n t h e i n si d e of th e th i g h are c ove red w it h
fa t , a n d t h u s n ot ne a rly a s wel l d e f i n ed . A ls o , if yo u wa t ch b o d yb u il din g
co mp et it i o ns yo u wi ll n ot i ce a m a s sive d i f fe re nc e i n th e a p p e a r a nc e o f m u s cle s
d e p e n d in g o n w hi c h o ne s a re te n s e d. I n t h is p os e , I fe lt t h e d a e m o n ’s h a n d s,
a r ms , an d u p p e r b o d y wo u l d b e te ns e d , an d s o we ca n fin d m o re m u s c l e
d e f in i ti o n t h ere . Re l at ive ly sp e a ki n g , t he re is a lo t le ss d e fi n it io n a ro u n d h is
o b li q u e s a nd se r ra t u s a nte r io r (t h e m u s cle s o n t h e si de of h is to rs o ), b e ca u s e
t he se a re no t e sp e ci a lly te n se d , a n d h i s i s b e n t fo r wa r d , w h ich wou l d so f te n
t he de f in i ti o n o f t he m so m ew h a t .

I t s h ou l d b e n ote d t h at on a ve r y mu sc ul a r physi q u e s u ch a s t h e da e m o n ’s,

u n d e r st a n d i n g t h e m u scl e g ro u pi n g s is as i m p o r t a n t a s kn o wi n g w h at an d
w h ere t h e m u s cle s a re . M u s cle s a re m a de u p o f m a ny fi bre s, an d t h e se a l l fl ow
in a ce r t a i n d ire ct io n a lo n g e a c h m u scl e . I n m u s cu la r p hys iq u e s, t h ey fo rm
q u i te n ot ice a ble cl u m p s. To t he u n kn o wi n g eye , i t m i gh t a p p e a r t ha t h e h as lo ts
o f m u sc le s a lo n g h i s s ho u ld e r s a nd ch e st , b u t th e se are a ct u al ly ju st g ro u p in g s
o f h is d el to i d a n d p ec to r ia l m u scl es . T h e se g ro u pi n g s a pp e ar to b e e s pe ci al ly
n ot ic ea b le a l o n g t he ch e s t, sh o u l d er a n d b a c k .

N ot ic e th a t hi s ve in s are n ot i ce a b l e o n a la r ge p o r t i o n of hi s b o dy. Th is is a ga in
so met h in g th a t I ob se r ve d in b o d y b u il d er s ( a n d eve n to ne d i t d o wn a li t t l e,
si n ce s o me re fe re n c e of sh owe d b o d y bu ild e rs covere d in ve i n s th at it l o o ke d a
b it ove r th e to p ). T h e ve r y la r g e ve i n s were b a s ed o n t h e p o si t io n o f re a l vei n s
w it hi n t h e b o d y, a s I fe lt p e o p l e m ay su b c on scio u sly n ot ice so me t hi n g a s wro n g
if t h e s e we re wr o ng . Th e s m al le r o n e s ( wh i ch a re o n hi s a rm s, ch e st ,
sh o u l d e rs , l eg s, a n d h e a d) a re ap p roxi m a ti o n s b a se d on ph oto gr a ph ic
re fe ren ce .

12
Fig 3.1 (Daemon face front and chest)

13
Fig 3.2 (Daemon Back)

Fig 3.3 (Daemon face side)

Fa c e

I fel t t he d a e m o n ’s fa c e (f i g 3 .1, 3 . 3 ) n e e d e d to b e c h a n g e d si g ni f i ca n t ly f ro m a
h u m a n fa c e in o r d er to d e f in e h im a s so m eth in g o th e r th a n h u m a n. I n or d e r to
m a ke h i m sca r y, I t r ie d to p lay o n o u r n a t u ra l fe a r o f d e a t h by m a kin g h is he a d
q u i te ske le t al . Ho weve r, si nc e h e i s s o h ug e ly b u ilt , it wo u l d lo o k q u ite o d d i f h e
we re to h ave a h e a d th a t wa s to o h e avil y i nf lu e n ce d by a sku ll , so i ns te ad I ju st

14
b o rr owe d a few skull ­ like fe at u re s .

Fro m th e f ro nt ( fig 3.1) we ca n se e t h at h e h a s n o n os e , ju st ho le s di re ct ly i n

t he sku l l. H is ch e e k b o n e s are ve r y no ti c e ab le a n d cle a r ly d e f in e d, a n d a ro u n d
h is mo u t h, th e ski n is d im p l e d in t h e sa me way t h at t he u n d er ly in g sku ll is to
a cc o m m o da te th e te et h . H oweve r hi s b ro w i s a n g r y a nd f u r rowe d , w h i ch
in d ic a te s t h a t t h e re is e n o u g h skin an d m u sc le t h e re to a ch ieve t h is lo o k . Al s o
cre as e s e it h e r sid e o f th e n o s e reve a l a re a s o na b le a mo u n t o f fl e sh .

H e re we ca n ’t se e th e te et h (t h ey we re ma d e a s s ep a ra te o bj e ct s i n Maya ), b u t
t hey a re fa i rly s h a r p i n o rd e r to al l ow t h e d a e m o n to b ite t h ro u g h f re sh m e a t
w it h e as e ( u n s ur p r isi ng ly, h e i s c ar n i vo ro u s) . A s wi t h mo st p red a to rs ( eve n
h u m a n s) , t h e ca n i ne s a re la r g er a n d s ha r p e r. Th i s wa s exa g g e ra te d i n th e
d a e m o n , to g ive h im s im il ar c a ni n e s to a lio n , sin c e h e is a h u n ter.

Fro m th e si de (f ig 3 . 3) we se e t h a t h e h as n o e a r, ju st a h ole di re ct ly in to hi s
h e a d ­ t h e sa m e a s on a sku l l.

15
Fig 3.3 (Deamon Hooves)

H oove s

Th e ch o i ce to g ive hi m h o ove s was p a r t ly to g et away f ro m ju st cre a t in g a b o d y

b u ild e r, a nd p a r t ly as a c o nsi d e ra t io n o f h is e nvi ro n m e nt . Si n c e he co m e s f ro m
h e ll, we ca n a ssu m e th e g rou n d wi ll b e h ot e n o u g h to sc o rch fl e sh , a n d so wi t h
a li tt le i m ag in a t i o n it is fe asi b l e th a t o ne m ig h t evo l ve to g row h o ove s i f liv in g
t he re . T h e t ra n s it io n f ro m lower l e g to h oo f re q u ire d so m e c o ns id e ra ti o n . I n t h e
re al wo rl d, h o o fe d an im a ls a re a ll q u a d r up e d s, a n d sin c e t h ei r we i g ht is
d i st ri b ute d a c ro ss fou r le g s ra t h e r t ha n t wo, th e ir lo we r le g s h ave rel a t ivel y
le s s m u s cle m as s t h a n h u m a n s . Si n ce t he da e m o n h as o n ly t wo le g s, I d e cid e d
to le ave h is lo we r l e gs w it h t h e or i gi n a l h u m a n m u scl e s. I d e fin e d t h e p er o n e u s
lo n g u s a n d t i bi a lis a n te ri o r m uc le s, w hi c h are v isi b le r u n n in g d ow n th e o u t s id e
f ro n t o f t h e lo we r le g s , a n d in ret ros p e ct I th i n k it m ay be wor t h ta kin g th e s e
o u t , a s th e ir p u r p os e i s to a i d m o bi li t y i n th e f o ot , wh i ch wo u l d no t b e n e e d e d .

16
Fig 3.4 (Daemon hands)

H a nd s

A s wi t h m os t o f t h e da e m o n, t he h a n ds ( f ig 3 . 4 ) a re q ui te h u m a n . H oweve r,
si n ce h e h i s h e a d i s b a s ed on a ske let a l sh a p e , I wa n te d to ref l e ct t h is in h is
h a n d s ­ so al t h ou g h t hey a re ve r y b ig a n d m u sc u la r, t h e s h ap e s o f t h e b o n e s
a re q u ite vis i bl e i n th e f in g e rs . S o m et h in g n ot se e n h e re a re h is c laws, wh ic h ,
li ke t h e te et h , we re m ad e a s s e pa ra te o b j ec t s in M aya. T hey a re hu g e a n d
sh a r p, a s t h e d a e m o n u s e s t h e m i n ca t c h in g p rey.

R e fe r e n c e

A s m ig h t b e ex p e cte d , t h e b u lk of refe re n ce fo r t he d a e m on ca m e f ro m
b o d y bu ild e r s , e sp e c ia lly as sh ow in g o f f t h e ir b o d i e s is t h ei r jo b . A s al ways, th e
in te rn et is a go o d so u rce of re fe re n ce , a n d a ls o a ny b o ok s m a d e to i ns t ru ct
wo ul d ­ b e b o d y bu ild e r s. M o st o f my p h oto gr a ph ic re fere n c e ca m e f ro m a DV D

17
e n t i tle d “ P u m p in g I ro n ”, w h ic h fol lo ws a you n g A r no ld S c h wa r ze n e g g er a s he
co mp ete s fo r hi s 6 th M r. O ly m p ia t it l e. I t h a s g re at re fe re n ce of S c hwar z e n e g g e r
a n d m a ny oth e r s t ra i ni n g a n d c o m p et i n g. Fo r in ­ d e pt h a n a to m i ca l re fe re n c e,
“ S tre n g t h Tra i ni n g A n a to my ” is a n exc e ll e nt b o o k f il le d w it h il lu st ra ti o n s of th e
p o sit io n s o f p e o p le ’s m u s cl e s ( m al e a n d fe m a le ) a s t h ey we i gh t tr ai n . Th is is
a ls o a u se f u l b o o k fo r a ny a n a to my st u dy.

G ru nc he r S wa m p Tr ol l

Ag e ­ 47
B od y t yp e ­ O b e s e wit h str o ng un d e rly in g m u sc u la t ure
E xa m p l e o f b od y ty pe in r e al i t y –
( so u rce : p h otot rave ls. ne t, se e refe re n ce p a g e )

Th e t ro ll wa s fi r st ly a st u d y of t he ove r we i g ht /o b e se b o d y ty p e , a n d h ow we c a n
u se it to d e fi n e a c e r t a in t yp e o f c h ar a cte r. S e co n d ly, I wa n ted to sh ow t ha t
su b t l e c h a n g e s to t h e a na to my, b o rro we d f ro m e ls ew h ere in n a t u re , c an h e lp
m a ke a c h a ra cte r sl ig h tly l e ss h u m a n , a nd re f le ct t h e e nvi ron me n t it ’s g row n u p

18
in , a n d wh a t it ’s evo lved f ro m.

A lt h o u g h h e is su b st a n t ia ll y l ar ge r t h a n t h e ave ra g e h u m an , th e ove ra l l
p ro p o r ti o n s o f th e t rol l a re fa i rly d u m py ­ h e is a lo n g way f ro m t he id e a l e i gh t
h e a d s in h e i gh t. Th is is be ca u s e I wa n te d h im to l oo k cl u m sy a n d l um b e r in g .

W h il st t h e tr o ll wa s a st u dy in to t h e ove r we i gh t/ o be se p hys iq u e , a s a ch a ra cte r

h e i s a fi g h te r, an d so h i s b o d y h a s a fa ir d e g re e o f u n d e r lyi n g m u scl e ­ m ak in g
it m o re a ki n to a su m o w re st le r th a n a co u c h p ot a to .

Fi g 4 (Tr ol l f r o nt , s id e a nd ba c k v ie ws )

Fr on t

Fro m th e f ro nt , we ca n s ee th a t th e fo r m s h is b o d y cre ate s are m o st ly di c ta te d

by h i s la rg e fa t t y d e p o si t s. H is b e lly i s la rg e a n d sm o oth ­ i n a le s s ove r we ig h t
p e r so n , we wo u ld se e " rol l s" of fa t , e sp e cia ll y i n th i s h u n c he d p o s e, b ut wi t h a
ce r t ai n a m o un t o f fa t th e sto m a ch g et s p u s h ed o u t to c re a te a b ig sm o ot h b e lly.
Th e fa t in h is p e cto r al re g i o n is s ub st a n t ia l, a n d c rea te s b re a st s wh ich d ro o p
over t he sto m a ch .

Th ere is e n o u g h m u scl e in h is ar m s a n d le g s to d e fi n e a rec o g n i sa b l e s ha p e

t he re ­ t h e bu lg e s crea te d by t h e d e lt oid s ( sh o u ld er m usc l e s), bi c ep s, a n d
fo re ar m m u sc le s ca n b e s e e n, b u t a re we l l ro u n d e d o f f by th e g e n er al b o d y fa t.

19
Fi g 4.1 ( B a c k w it h s c a l e d et ai l)
Back

Th e rol l o f fa t cre ate d by t h e t ro l l's b re a st s c o nt i nu e s ro u n d a nd u p th e b a ck .

A p o i nt o f in tere s t in cre a t in g fat p e op le i s t h at t h e sk in fo ld s cu r ve u p wa r d s
f ro m th e si de a s t h ey ge t clo s er to t h e ce n tre o f t h e b a c k. G e n e ra l b u m p s an d
in d e n t a t io n s fo llo w t hi s c u r ve a s we l l. Th e u p p e r b a c k i s covere d by sc al e s – a
sm a l l d et a il le f t ove r f ro m h is a n ce sto r s. C e llu li te is visi b le a lo n g t h e b u m a n d
le g s.

Fi g 4 .2 (Tr ol l f a c e a nd c he s t)

Fa c e

A s a lways, t h e fa c e (f i g 4. 2 ) wa s a g o o d o p p o r t u ni t y to br i ng o u t t h e p e r so n a li t y
o f th e ch a r a cter. O u t o f t h e six c h a ra cte r s, I m ad e t h e t ro ll t he m o st
a sy m me t ric a l – I wa n te d it to s how th e to ll o f ye a r s of g et t in g s m a sh e d a ro u n d

20
a n d g e n e ra l b a d t rea t m e nt . Th e fe a t u res o f t he fa ce we re de si gn e d to g ive h i m
a n ai r o f stu p id it y, so I p laye d o n t h e clic h é a nd b a s e d th e m o n a n exa g g e ra te d
N e an d e r t h a l m a n ­ h e avy se t b row, p rot r u d in g u n d e r b it in g j aw a n d a wi de
n o se . To in te g ra te it i n to th e re st o f h is b o d y, I ad d ed a few f is h li ke q ua lit ie s,
t he m os t n ot a b le of wh ic h i s h i s eye s are s et wid e a p a r t a n d p oi n t sl ig h t ly to
t he si d e of hi s h e ad . Hi s e a rs are fl o ppy a n d fin ­ like, a n d h e h as a f i n w hi ch
r un s d ow n t h e mi d dl e o f his he a d . L ike o n m a ny f ish for exa m p l e t h e Po r gy, t h e
f in c lo s e st to th e h e a d ha s t h ic k an d well d e f in e d fi n s, w h e re a s t h e o n e s a lo n g
t he ba c k a re
f in e r.

Fi g 4 .4 (Tr ol l foot ) Fi g 4. 5 (Tro l l h a nd s )

H a nd s a nd Fe et

H is h a n d s a n d fe et (f i g 4 . 4 a n d f ig 4 . 5 ) we re m o re i nf l ue n ce d by h i s a m p h i b io u s
a n ce s tr y t h a n h is fat .
Th ey a re a bn o r ma ll y l ar ge re la t ive to h i s l im b s a n d to r so , wh ic h is to m a ke
t he m
m o re u se f u l f or m ove m e nt t hr o ug h wa te r. T h e web b in g b et wee n t h e f in g e r s a nd
toe s a l so a i d s in th i s.

A s in ot h e r a m p h i bia n s, t h e re is ver y l it t l e fat store d in t he ha n ds a n d fee t

a n d s o th e b o ne s a re q u i te n ot i ce a b le be n ea t h th e s ki n.

21
W i za r d

Ag e ­ 9 3
B od y t yp e ­ O ld , t h i n, a n d fr ai l
E xa m p l e o f b od y ty pe in r e al i t y –
( so u rce s : Wa k in g N e d , DV D , a nd w ww.a gave me d ia . n o . S e e refe re nc e p a ge )

Th e wi za r d wa s a st ud y o f a n o ld a n d q u i te fr ai l b o dy st r u ct u re . O ut o f a ll t h e
ch ar a cte rs , I fel t t h a t t he w iza rd wa s t h e o ne le a st d e f i ne d by h is a na to my, a s
we are a c cu sto m e d to s ee i n g wi z ar d s we ll cove re d u p in ro b e s. However, I
t ho u g ht i t wa s n e ce ss a r y to i n cl u d e a n ol d b o dy t yp e in or d e r to f ul ly
inve st ig a te a s ma ny d i f fere n t o n e s a s p o s sib l e ­ a nd th e h u m a n b od y c h a ng e s a
lot w it h a g e .

Fi g 5 (W i z ar d f r o m f r on t, s i ze , b a c k )

B od y

22
Th e ma in c ha n ge s i n a p pe a ra n ce in a n o ld pe r so n a re dr i ve n by a n u m b e r o f
t hi n g s ­ m u ch sm a ll e r a m o un t s o f m u sc le , sma lle r a m o u n t s o f fa t a n d l oo se r
ski n . T h is m e an s t h a t t h e skel eto n p lays a la rg e r pa r t i n d ef in in g th e s ha p e o f
a n o l d p e rs o n c o m p a red to a yo u n g e r p er so n .

Fo r exa m p le , f ro m t h e fr o n t ( fi g 5 ), th e w iz a rd ’s h ip b o n es j ut o u t , cre at i n g a
cl e a rly de f in e d s h ap e th ere . Th e ri b ca g e is v isi b le , a n d th e r ib s are visi b le
a lo n g th e si d e a n d b a c k. T h e ar m s a n d le g s lo o k th i n a n d f ra il ­ th is i s ju st d u e
to t h e re d u c t io n o f m u s cl e a n d fa t.

Th e mu scle s a re sm a l l b u t o f te n c le a r ly d e f i ne d , we c an se e t h e m u s cle
g ro u p i ng s o f t h e p e cto ri a l m u scl e s cre a t i ng in d e n t a t i o n s a l o n g t h e ch e st , a nd
h is b ice p a n d fo re a r m m u scl e s are q u ite d ist i n ct .

A s a r ul e o f t h u m b, sk in w ill w ri n kl e a n d sa g w h e reve r it ha s t h e c h a nc e ­ we
ca n se e t h at t he po sit i o n o f t h e wi z ar d ’s h e a d ca u se s wr i nk l e s in hi s n e c k , t h e
ski n a ro u n d h i s p e c to ri a ls ha s s a g ge d, cre at in g s ma l l d ro o p i ng bre a st s, a n d
si mi la rly th e s ki n ar o un d h is b ut toc ks h a s sa g g e d a n d cre a te s w rin k le s e a sily.

A l so n ote th a t th e b od y l ose s a l ot of it s na t u ra l cu r ves , fa r exa m p l e t h e

o u t wa r d cu r ve cre a ted by t he d e p os it s o f fa t i n t h e b ut toc ks h a s d e cli n e d
si g ni f ica nt ly wi t h t h e red u ct io n of fat th e re . O ve ra ll, th e b o dy is m o re a n gu la r,
a s it ’s sh a p e is d e f i ne d m ore by b o n e t h a n m u s cl e o r fa t .

Th e p ot b e lly is o f te n se e n i n ol d p e o p l e, b u t no t a lways. I t wo ul d d e p e n d o n
t he t yp e o f l ife st yl e t h a t t he ch ar a cter wa s li vin g o r h a d lived in t h e p a st . I
fo u n d t h a t if my o l d ch a ra cte r di d n ot h ave a lit t le b i t of a be lly, he ca m e a c ros s
a lo t m ore f ra il. A s wi t h th e re st o f t he b o d y, th e s ki n w rin k le s h ere , b u t i f t h e
b e lly wa s la rg e r, we wo u l d se e le ss wr in k le s a s t h e ski n g ot p u s he d o u t . I f i t
wa s n ot th e re , we co u l d ex p ec t to se e m a ny m o re wr in k le s .

23
Fi g 5.1 ( Wi za r d he a d, w i t hou t be ar d)

H e ad

A s wi t h th e re st o f t h e b o d y, th e b o n e , so i n t h i s ca se t he sku ll , h a s a la rg e
im pa ct o n t h e lo o k o f t h e h e a d . T h e te m p le s a p p e a r to d ip i n , w h ere a s in a
yo u n g e r c ha ra cte r th e te m p o ra lis m u sc le t h ere wo u ld have g iven i t a l it t l e b it o f
b u lk, t he ch e e k b o ne s a re cl e ar ly vis ib l e, a n d t h e skul l c re a te s a r ai se d l in e
f ro m th e eye to th e e ar. T h e j aw is le s s v isi b le , a s th e loo se s kin ha n gs o f f it .
Th e lo o s e skin al s o ca u s e s w rin kle s a ro u n d t h e eye s, fore h e a d, a n d m o u t h.
Th e u p pe r li p h a s lo st vo l um e , an d is b are ly vi si b le . T h e e a r s a n d n os e a p p e a r
la r g er. T h e sk in sa g s a g re a t a m ou n t a ro u n d t h e n e c k .

Th e fa ce wa s a n o p p o r t un it y to gi ve t h e wi z ar d s o m e ch a ra c te r, I wan te d h i m to
co me a c ros s a s m e n t a lly tou g h a n d d ri ve n , de sp i te h i s f ra g il e b o d y. Th is wa s
p a r t ly a ch i eve d th ro u g h h is exp re ssi o n , b u t I a l so b a se d gave hi m a skul l th a t
wo ul d , i n e a r lie r ye a r s, have sh ow n t h ro u g h a s a ver y m a l e o n e, w ith a
ch i se l le d j aw. H is bu shy eye b rows a re fa i rly t yp ic a l of an o ld m a n , b u t a d d to
h is sl ig h t ly ste r n lo o k.

24
Tr evor t he Z om bi e

Ag e ­ 3 0 , p l u s 4 m o n t hs d e a d.
B od y t yp e ­ Rot ti n g

Fi g 6 (Zo m bi e fr on t , l e f t, a nd zo m b ie b ac k , ri gh t)
Th e z o m bi e ch a ra cte r wa s m ad e to exp l ore h ow we c a n t a ke a n o rd i na r y h u ma n
f ig u re, an d by reve a li n g s o m e of t he un d er ly in g a n a to my, m a ke it a ho rro r
ch ar a cter. Th i s re l ie s o n mo st p e o p l e s’ ave r s io n to d e a t h a nd g o re, s o by
cre at in g a ch a ra cte r t h a t di s plays bot h , we sh o ul d b e a b l e to cre a te so m et hi n g
t ha t mo st p e o p l e wi ll fi n d u n p l e as a n t o r h o r ri f ic to lo o k a t .

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Th e b a se p ro p o r ti o n s o f t he zo m bie are th e sa m e a s t h e n o r m a l m a n, a n d t h e
a d ju s t me n ts we re ju st m a d e o n th e b a si s o f w h a t d ec i de d m i g ht h a p p e n to o u r
m a n if h e h a d di e d , b e e n b ur ie d fo r a w h i le , a n d c o m e ba c k f ro m t h e d e a d .

I n f il m, th e re a re two ty p e s o f zo m b ie ­ t h os e t h a t h ave co me b a c k fr o m th e
d e a d a f te r rot ti n g f or a w h il e , a nd t ho se w h o h ave j u st re c e n t ly d i ed an d b e e n
zo mb i fi e d . Fo r a m o re in te re st i n g ch ar a cter, t h i s z om b ie h a s b e e n d e a d an d
b u ri e d fo r fo u r m on t h s.

Fi g 6.1 (Z o m b i e he a d ri g ht s i de , a nd z om bi e h e a d fr on t)

W it h a c ha ra cte r like a zo m b i e , th e re is a h u g e a mo u n t o f s co p e fo r a d d i n g
t hi n g s to th e c ha ra cte r ju st b e c au se p e o p le fi n d t h e m u n pl e a s a nt . So fo r
exa m pl e , t h e m os t n ot a b l e th in g w he n we v iew th e h e a d f ro m o n e si d e (f i g 6 .1,
le f t ) i s t h e b ra in th e re . W hy hi s b ra in i s a re visi b le is n ot im p or ta n t , i t c ou ld b e
in t h e i n ci d e nt th a t kil le d t h e ma n i n th e f i rs t pl a c e, o r p e r ha p s it wa s
so met h in g th a t ha p pe n e d to hi m in hi s zo m b if i ed sta te . Re g a rd l es s, a s lo n g a s
it rea d s a s a b ra i n, it sh o uld h ave t h e d e s ired ef fe ct as p e o p l e a re ge n er al ly
u n co m f or ta b le se e in g t h e i n sid e s of a h u m a n b o d y. O n e t h in g to b e ar i n mi n d
w it h b ra in s is th at eve n th o u g h t h e re is a lot o f i n tr ic a te d et ai l crea te d by it , th e
su r f a ce i s g e n e ra l ly fa i rly smo ot h, a n d if we si lh o u et te d it , we wo u l d se e t h at it
is le s s b u m py t h a n we mi g h t b e li eve . T h e e f fec t is si mi la r to p a c ki n g a lo t o f
sa u s ag e s t i g ht ly in to a sm a ll co m pa r t m e n t ­ we se e a lo t o f de ta il, b u t th e
sh a p e is ro u g h ly t h at o f t h e co m p a r t m e n t . Ag ai n , I wa s t r yi n g to im a g in e h ow it
wo ul d l oo k i f th is was a n i nj ur y i n re a l it y, a n d so we se e t h a t t h e sku ll is v isi b le
a ll a ro u n d t he br ai n , a n d a rou n d t h at we s e e sk in , wh ich ha s c o m e away fr o m
t he ve r y e d ge s o f t h e skul l. O n th e ot he r s id e o f t h e h e a d we c a n se e t h e ski n
h a s rot te d , l e avin g th e s h ap e s o f t h e u n d e r ly i ng m u sc le s ar o un d th e eye s a n d

26
r un n in g a l on g th e ch e e k to t he m ou th .

O n e id e a t h at is re p e a te d in sever a l p la ce s ar o un d th e zo m b ie is t h e i d ea t ha t
h is sk in b e e n to r n o f f c o m p lete ly f ro m c e r t a in a re a s o f h is bo d y to reve a l t h e
m u sc le s un d er n e a t h , a n d th e n e c k (f i g 6.1, 6 . 2 ) i s a n ice are a si n c e we h ave
q u i te a few l itt le m u sc le s t he re to d et a il in , a n d th e ste r no cle id o m a sto i d m us cl e
cu t s a cro s s it d ia g o n a lly, cre at in g a n a e st h et i ca l ly in te re st in g e f fe ct . O n e
im po r t a n t t h in g to n ot i ce h e re , h owever, is I ch o se n ot to s ho w t h e m u s cl es
exa ct ly ho w th ey wo u ld a p p e a r if we to o k th e s kin of f . I n re a lit y t he re is a sh e et
m u sc le cove r in g t h e e n t i re s ur f a ce o f th e n e c k ( th e p la t ysm a ) , wh ich if i t wa s
le f t in wo u l d in a l l li ke li h o o d co nf u se p e o p le , sin c e m o st a re no t fa m ili a r wi t h
it s p re s en ce . A l so , t h e m u s cle s o n t h e f ro n t o f t he n e c k we re re m oved to reve al
t he t ra ch e a (wi n d p i pe ). Aga i n, th i s wa s b e c au se I fel t it wou l d b e s o met h in g
m o re re co g n i za b l e to mo st , a n d a ls o m ore a es th et i ca ll y i nte re st in g . E s se n t ia lly
t he po in t i s t h a t we sh o u ld fe e l f re e to p lay w it h a n a to my to ma ke i t se r ve th e
p u r p o s e we wa n t ­ a f ter a ll , th is is ab o ut cre at in g c h ar a cte r s, n o t re p li ca t i ng
o u r se l ve s.

Fi g 6 .2
Fig u re 6. 2 sh ows u s t h e b a c k o f t h e ne c k, w h e re we c a n se e t h e sk in i s
m iss i ng , reve a li n g t h e un d e rlyi n g t ra p ezi u s mu scl e , a s we ll a s t h e to p o f t h e
sp i ne , si nc e t h e m u sc le d o e sn ’t c o m p l ete ly cove r t h e sp i n e.

27
 Fig 6 . 3 ( Zo m b i e r i gh t ha n d, s how i ng m i s s i n g s k i n a r ou n d w r is t
a nd fi n g e r )

Fi g 6 .4 (Zo m bi e ri gh t a r m , o n l e f t, an d zo m b i e l e f t ar m , o n ri g ht )

I ch o se to g o in co m p l ete ly d if fe re nt di re ct io n s o n t he ar m s (a n d h a nd s) (f i g
6 . 3 , 6 . 4 ) , ex pl o r in g t wo d if fe re nt p o ssi b i lit ie s t h a t m ay o cc ur to a n u n d e a d

28
b e in g . W it h h is le f t ar m ( fi g 6 . 4 , r ig h t si d e ) , I d ec i de d th a t t h e m us cl e s h a d
a lm o st co m p l ete ly wa sted away, le avi n g o n ly b o n e d e fin it i on on t he fore a r m a n d
h a n d . To ad d to th e u n p l e as a n t n e ss , I d e ci d e d t ha t t h e ve in s m ay sti l l h ave
b lo o d pu m p i ng th ro u g h th e m , a n d co u p l e d wit h th e n ow ve r y wa ste d away sk in ,
t he se wo u ld be ve r y visi b l e a cro ss th e w ho l e are a . A s w it h m o st o f t h e vei n s o n
t he se c h ar ac te r s, t h e m a i n o n e s a re a n at o m ica lly co rre ct , a n d t h e s m al le r o n e s
a re e du ca te d gu e sse s b a s ed on re fe re nc e .

W it h h i s ri g h t a r m (f i g 6 . 3, 6 .4 r ig h t sid e ), I d e ci d ed th a t th e m u s cle s h ave n ot

co mp lete ly wa ste d away. W hy t hey wo u l d wa ste on o n e s id e a n d n ot t h e ot h e r
is a nyb o di e s g u e s s ( m ayb e h e wa s lyin g s tr an g el y i n h is co f fi n ) , in f ac t i t m ay
a d d to o m u c h a sym m et r y to t hi s c h a ra cte r. I gave h im fa ir ly st ro n g mu scl e a n d
b o n e d e f in i ti o n h oweve r, sin c e t h e ski n wo u ld a l so b e q ui te t hi n a n d reve al t he
u n d e r ly in g str u c t ure mo re . T hi s wa s a l so a n a re a t h at I ch o s e to re m ove so m e
ski n . U nd er n e a t h we ca n s e e t h e te n d o ns o f t he fore a r m s m u s cle s i ns e r t in g
in to t h e h a n d ( t h e fo re a r m m u scl e s tu rn to te nd o n s ro u g h ly h al f way d ow n t h e
fo re ar m . T he t ip o f t h e in d ex f in g er a l so h a s t he ski n re m oved , ju st as a li tt le
g h o u li sh d et a i l. T h e te nd o n ca n b e se e n o n to p o f t h e b o n e ( a nd sl ig h t ly
ex pl a i n s w hy t h e b o n e s h ave n ’t ju st fal l en o f f ).

Fi g 6 .5 (Zo m bi e tor s o f ro nt ) Fi g 6. 6 (Z om bi e to r s o b a c k )

Fro m th e f ro nt ( fig 6 le f t sid e, 6. 5) we ca n se e t h at h is in te st in e s a re cl e a r ly

vi sib l e . O ne th i n g t h at is mi ss in g f ro m t hi s p ict u re ( b ec a u se it wa s a d d e d a s a
se p a r ate o b j e ct i n M aya ) is so m e o f h i s i nte st i ne s a re ha n gi n g o u t . Th e l e f t
si d e of hi s b o dy ( h is le f t ) i s c on s id e ra bly t hi n n e r t h an hi s r i g ht , b e ca u se th i s i s
w h ere t h e h o l e is , an d so t h is is wh e re m o st o f h i s o rga n s h ave al rea d y

29
d ro p p e d o u t . M i ssi n g ski n reve a ls h i s r ib s (o n h i s l ef t ) , a nd t he di a g o n a l m u sc le
f ib e r s of th e p e cto ra l m u s cle (o n h i s r ig h t ).

Fro m th e b a c k (f ig 6 r ig h t sid e , 6 . 6) we ca n s ee a sl ig h t i nd ica t io n o f h is

r ib c a g e. Th i s i s n ot n o r m al fo r a m al e ( un le s s t h ey a re u n d e r we ig h t ) , bu t I p ut it
in b ec a u se h is s ki n is s o t hi n a n d h i s m u scl e s are s o wa ste d t h at it is like ly t h a t
t he ri bs wo u l d sh ow t h ro u gh . Hi s sca p u l a (s h o ul d e r b o n e s) a re p ro mi n e n t
b e ca u s e o f t h e p os i ti o n o f h i s a r ms , a n d a l so b e ca u se o f t h e t h in ski n a n d
m u sc le cove r in g t h e m . T h e m is sin g ski n o n h is lower b a c k reve a l s a m o u n d
w h ere h i s s pi n e is (i n ret ro sp e ct I fe e l it wo u ld h ave b e e n ni c e to h ave h is
a ct u a l sp in e sh ow i n g th ro u g h ­ cu rre nt ly it i s j us t a b u m p ca us e d by t h e s pi n e
b e in g cove re d by m u scl e a n d f a sci a) . T h e m is sin g ski n a ro u n d h i s l ef t sc ap u la
reve a l s th e mu sc le s th e re (t h e t ra p e ziu s, an d u n d e rn e a t h th e in f ra sp i na t us a n d
tere s ma j o r). Hi s b u t to c ks are d evoi d o f f a t a nd t hu s sh ow s t h e sh a p e of th e
u n d e r ly in g gl u te us m a xi m u s m u s cl e . Th e s o re s o n h is bo t to m we re a dd e d
b e ca u s e h e p ro b a b ly ca r ri e s a n u n to ld nu mb er o f d i se a s es , a n d t h e s e we re a
way o f s ho wi n g t h e m t h at wou l d h o p e f u lly ma ke t h e a u d i e n ce u n c o mf o r t a b l e .

Fi g 6 .7 (Le f t – b a c k v i e w, m i d d le – t hr e e q ua r te r s ou t si de v i e w, ri gh t –
t hr e e q u a r te r s i n s id e v i e w )

H is le g s we re m ad e fai rl y t h in a n d f ra il . Th e i n sid e o f th e t h i g h ca r ri e s a l arg e

a m o u n t o f fa t , a nd sin ce I di d n ot wan t t h e zo m b i e to ca rr y a ny fat , t h is wa s
m o st ly t a ke n away wh i ch t h i n ne d o u t t h e le g c o n si d er ab ly. Hi s le f t l e g (f i g 6. 7)
h a d a l ar ge a m o u n t o f s kin m i ssi n g . I c h os e t h is a re a a s th e la rg e st a re a w it h

30
m iss i ng ski n b ec a u se I fi n d t h e m u scl e s o in tere s ti n g a ro u n d t h e re. Fro m th e
f ro n t , we ca n s e e h is q u a d ri c ep s, h e l d to get h e r by h is sa r to ri u s m u scl e ( t he
lo n g ri b bo n­ l ike o n e th a t w ra p s a ro u nd t he in s id e o f t h e t h ig h . L o o ki n g to t h e
in s id e o f h is t h ig h , we s e e th e mu s cl e s th ere , suc h a s th e g ra cil is, in s e r t in g by
t he kn e e , a n d f ro m th e b a c k we se e h i s h a m st r in g s (b i ce p s fe m o r is a nd se m i ­
te nd in o s u s), an d ju st t h e to p o f t h e t wo h e a d s o f h is ca lf m u s cl e
( ga st ro cn e m iu s ). O n th e b a c k a n d f ro n t o f h is kn e e we wo u ld exp e ct to se e
so me f at , b ut t hi s i s l on g g o ne . Th e i mp or ta n t le s so n h e re is t ha t n ot o nl y i s
a n a to my im p o r ta nt if we wa n t a n a ud ie n c e to b e l ieve o u r ch a ra c te rs , i t a ls o
m a ke s ou r jo b a lot e a s ie r. D e si g ni n g s uc h a fa sc i na ti n g a n d in te re st in g p a tte r n
o f m u sc le s a s ca n b e fo u n d in t h e l e g wo ul d b e a ve r y d if fi cu l t p ro ce s s, b u t
fo r t u n a te ly n at ure h a s a lrea d y c re a te d t h is d e s ig n fo r u s .

Fi g 6 .7 (Zo m bi e fo ot , s h ow i n g te n d on s)

H is fe et we re , l ike t h e re st o f h im , was te d away a n d th u s vi sib ly m ore skel et a l

t ha n th e re st o f h i m . Hi s r ig h t fo ot h a s s o m e ski n m is sin g , reve al i ng t he
te nd o ns t h a t i nse r t i nt o e a ch to e .

R e fe r e n c e

Zo m b ie f il m s a re us e f u l o f co u r s e (a ny t hi n g by G eo r g e Ro m e ro ), b u t are n ot
n e ce ss a r y, sin c e w he n yo u u n d e rs ta n d t h e a na to my yo u ca n f re el y cre a te yo u r
ow n zo m b i e wi t h ou t ever n e e d i n g to se e so me o ne el s e ’s cre at io n . I f yo u ca n
sto m a c h it , co r p se s are a n o bv io u s , if u n p le a s an t, so u rc e o f re fere n c e . G u n t h e r
Vo n Ha g en ’s live a n a to my st u di e s a re ve r y u se f u l , a s h e us e s f ai rly re ce nt ly
d e ce a s e d b o d i es , a n d a l so c ut s t h e m op e n to reve a l th e org a n s , a ll th e t i m e
d e sc ri bi n g t h e va ri o us p a r t s o f th e b o d y, ma ki ng it u s ef ul fo r b o d y a n d o r ga n
re fe ren ce . H is bo o k “ B o d ywo r ld s ” ( ba se d o n t h e exh ib i ti o n ) a ls o co n t a i ns o rg a n
re fe ren ce a n d d e s cr ip ti o n s .

31
M a r c o t he C h er u b

Ag e ­ 18 m o nt h s
B od y t yp e ­ Ch il d
E xa m p l e o f b od y ty pe in r e al i t y (sl ig h t ly o ld e r t h an 18 m o n t h s) –
( so u rce : own p i ct u re )

A go o d l oo kin g b a by ca n b e g u ar an te e d to m a ke m o st p e o p le sm il e a n d c oo .
Un d e r st a n di n g wh a t it i s t h a t p rovo ke s th i s re a ct i on is ver y i m p o r t a nt w he n
cre at in g a ny yo u ng ch a ra cte r, f ic ti o n a l o r re a l. I t c an al s o h el p wi t h c re a t i n g
m o re a t t ra c ti ve a d u lt s . A s a r u le of t h u m b , t h e cl o se r a p e r so n’ s fa cia l fe a t u re s
a re to b a by fe at ure s, t he m o re a tt ra ct ive t h ey a re. I ’ve fo u n d t hi s m o re
a p p li ca b l e to wo m a n a nd “p re t t y” m al e s (i .e . ma le s wi t h m o re fe m in i n e
fe at u re s) .

32
Fi g 7 (C h er ub w i t h ou t wi ng s . 3 q ua r te r f ro nt v i e w, s i de vi ew, a n d 3 q ua r te r
ba c k v i ew )

H e ad

Th e f ir st t hi n g to n ot i ce is th e h e a d si ze in re la t io n to t he res t o f t h e b o d y. I f we
m e a s ure t he p rop o r t i o ns by id e al h u m a n p ro p o r t io n s (e i g ht h e a d s in h ei g h t ), we
ca n o n ly eve r e nd u p w it h so m et h in g th at lo ok s a d ul t , no m a t te r h ow s m al l we
m a ke t h e c ha ra cte r. Fi g ure 7. 2 s ho ws u s A n d rew L o o m is’ s re se a rc h e d id e a l
b a by p ro p o r t i o n s, an d we c a n se e t h a t by h is re c ko n i n g, a on e ye a r ol d b a by
w ill o n ly b e a ro u n d fo ur h e a d s hi g h , a n d th e s ize o f th e h e ad is o n ly a ro u n d
t hre e in c h es sh o r te r t h a n a n a d u l t h e a d . Th is is ver y im p or ta nt , b e ca u s e it i s
t hi s co m p a r at ive ly la rg e h e a d in co m p a r iso n to t h e b o d y t h at a llow s u s to
in st in ct i ve ly re ad it a s a b a by a t a g l a n ce . To hi g h li g ht th is, fi g ure 7. 3 s ho ws a
si lh o u et te d b aby a n d a s ca l e d d ow n sil ho u et te d m a le . Ho p e f u lly i t w ill b e
im m e d i ate ly a pp a re n t wh i ch i s w hi c h.

A l so n ote th e re l a ti ve s ize of th e fac ia l fe a t ure s o f a b aby’ s h e a d – re la ti ve ly

33
la r g e e ar s, la r g e eye s (s i n ce t h e eye b a l ls d o gr ow, b ut o n ly sl ig h t ly) , a n d s m al l
n o se a n d m o ut h . T he se a re t hi n gs t ha t s h ou ld be n ote d wh e n t r yin g to crea te
a n a t t ra c ti ve a d ul t c h ar ac te r.

Fi g 7. 2 (L oo m i s pr op or t i o ns di a g r a m ) Fi g 7. 3 (s i l ho ue tte of b aby a n d
a d ul t)
To r s o a nd li m b s

Th e to r so a n d a rm s b e a r a clo se r co rrel a t i o n to a n a d u lt b o d y t h a n th e h e a d ­
t he a r m s a re re la t ive ly sl i gh tly sh o r te r, a n d re st sli g h t ly hi g h e r u p re la t ive to
t he t hi g h t h an in a n a d ul t , a n d t h e rel a xe d el b ows ca n b e m ar ke d sl ig h t ly h ig h e r
a b ove th e be ll y b u t to n t h a n o n a n a d u lt .

Th e l eg s, ho weve r, a re c on si de ra bl y sh o r te r re la t ive to th e res t o f t he b o d y. I n

a f u ll gr ow n a d ul t , we c a n exp e c t t h e le g s to b e ro u g hly h a lf t h e l e ng t h o f th e
b o d y (fo u r a du lt h e a d s in le n g th ). I n a b a by, t h e l eg s a re g en e ra lly u nd e r f o ur

34
( b aby siz ed ) h e a d s in le n g t h, a n d t h is is w h a t l e nd s t h e m t he ir “d u m py ” l oo k.
O n e th in g th at sh o u l d b e wo r th b e a r in g i n mi n d is t h e fa ct t h a t b a b i e s (a n d
g e n e ra l ly yo u n g p eo p le ’s) b o die s c h a n g e d ra st ic a lly ove r a s h o r t p e ri o d o f t i m e,
a n d L o o m i s n ote s t h a t t h e le g s gr ow n e ar ly t wi ce a s fa st a s th e to r s o. Th is
la r g ely a c co u n t s fo r th e la rg e d if fe ren ce in t h e p ro p o r t io n s o f ch il dre n
d e p e n d in g o n th e ir a g e (fo r exa m p l e , a o n e ye a r o ld b a by, a n ei g h te en m o n th
o ld b a by, a nd a th re e ye a r ol d a re al l q ui te d i f fe re nt ), so rem e m b e r th a t a n
o ld e r ch il d i s n ot j us t a “sc a le d u p” ba by, b u t t h at t h e to r so a n d h e a d wil l o n ly
g row s lig h tly, a n d t h e m aj o r it y o f c h an g e is to b e fo u nd i n t h e le gs . Co u p le d
w it h t h e h ea d , t h e si ze o f t h e le g s a re o n e o f th e m os t im p o r t a n t t h in g s for yo ur
ch ar a cter to i n st an tl y “ re a d ” a s a b a by.

I n yo un g ch il d re n, ch u b b i n es s is reg a r d e d a s an at tr ac t ive t hi n g , t h e s ign o f a

h e a lt hy b a by. If yo u r b a by ch ar a cter d o es n ot h ave a n a m p l e a m o u nt o f b aby
fa t , i t’ s g o in g to lo o k ill or st a r vin g , ra t h er t h a n c ute . O f co u r se , t h is m ay b e
d e sir a b le fo r you r ch a ra cte r, b ut i n th e c a se of t h i s ch e ru b I wa n te d a c h ar a cte r
t ha t wo u ld m a ke pe o pl e i ns ti n ct ive ly sm ile w h en t hey saw it , a n d for t h is, ba by
fa t is a m u st .

Fi g 7. 4 (C he r u b h an d s )

Fi g 7. 5 (C he r u b f ee t)

35
H a nd s a nd f ee t

Th e h a n d s a n d fe et o f a b a by (f i g 7. 4 , 7.5 ) are a lso sl i gh tly sma lle r co m pa re d to

t he re st o f th e i r b o d y. Fo r exa m p l e, by my m ea s ure m e n t s, a h u m a n h a n d wil l
o n ly f it a rou n d o ne a n d a h a lf t im e s in to t h e fo re a r m, w h ere a s a ba by ’s wi ll f i t
a ro u n d t wo a n d a h a l f t i me s. As w it h t h e li mb s a n d to rs o , t h e a p p e a ra n c e of t he
h a n d s a n d fe et a re la r ge ly d ic t a te d by b a by f a t – no te t he l a c k of b o n e
d e f in i ti o n in th e f i n ge r s a n d to e s , th ey a re m ore “ sa u s ag e­ l ike ” t h an m os t
a d u lt s. A lso t h ere is o f te n a vi s ib le cre a se ar o u n d th e wr is t s an d a nkl e s w h e re
t he fa t over l ap s.

W i n gs

W h il st of co u r se hu ma n ’s d o n ’t h ave wi ng s, to c re a te a b e li eva bl e ch a r ac te r I
felt t h a t t h e wi n g s n e e d e d to g rou n d ed i n a d e gre e o f an a to mi ca l c or re ct n e s s ,
b u t a ls o b e a b le to ca rr y a h u m a n . A l it t le re s ea rch i nto bir d a na to my reve a l s
t ha t t h e re a re fo u r t y pe s of wing (s o u rc e:
h t t p : / / o r io n . a n i ma lt ra c ks . n et / w in g a. h t ml ) ­

Fro m th ere , we se e th a t o n e t yp e in pa r t ic le f it s t h e d es c ri pt io n for t h e C h e r u b :

( t ake n f ro m so u rce )

“Th e s l ott e d hi gh ­ l i f t w i ng .

B ir d s th a t so a r ove r th e la n d, s uc h a s ow ls , v ult ure s, e a g l es, a n d h awk s

h ave lo n g , wi d e wi n g s wi t h m a ny sl ot s . Th e d e si g n co m b i n es
m a n o e u v ra b ilit y wi t h e f f i ci en t g li d in g , e n a b li n g th e b ir d s to c irc l e in
t he r m a l s (s m al l u pd ra f t s of wa r m a ir t ha t o ccu r ove r l an d. ) T hi s w in g
sh a p e , i n a n are a wi t h g o o d t he rm a l s, ca n al low a f lyi n g c re a t u re to be ,
by d e sig n , fa r bi g g e r a nd h e avie r t h a n t h ey co u l d b e in oth e r
e nvi ro n m e nt s. I t 's t he sa m e sh a pe i mit a te d by h a n g ­ g lid e r s. ”

( e nd of so u rc e)

P rov id e d we ca n a ss u m e t h a t ou r a u d ie n c e wi ll n ot h ave a gre a t kn ow l ed g e o f

36
t he se d if fe re n t wi n g ty p e s, i t wo u l d b e ove r tly p e d an ti c to i n si st t h a t if ou r
ch ar a cte rs h ave w in g s th at wo ul d b e s t su it t h e i r e nvi ron me n t, e sp e c ia l ly if o ur
ch ar a cte rs a re h u m an o id i n n a tu re ( if we we re cre a t i ng a bi rd ­l ike c ha ra cte r,
h oweve r, i t wo ul d b e wi s e to g ive it a w in g t y pe th a t we c a n exp e c t it h ave ).
W h e n d e si g n i n g t h e wi n gs fo r t he ch e r u b , I wan te d s o m eth i n g t ha t wo u ld su it
h is b o dy s tr u c t ure , w h ic h wa s t he sh o r te r wi n g t y p es , a n d t he “ slot te d h i g h­ li f t
w in g ” wo ul d s e e m b es t su i te d to c a rr y in g a w h o l e h u m an , a nd al s o h ave t h e
lo o k t h a t I was g oi n g for. O ve ra ll, th o ug h , it wa s m ore i mp or t a n t to o b se r ve t he
rec og n is a bl e c h a ra cte r ist i cs o f a wi ng – t h es e b e in g th e g e ne ra l s h ap e , t h e
d i f fe re nt t y pe s/ s ize s o f fea th e r d e p en d in g o n t h e lo ca ti o n of t he fe a t he r o n th e
w in g , a nd t h e ove r la p o n th e fe a t h e r s (f ro m t h e fr o nt t h e u p pe r fe a t h e r s over l ap
t he lo we r o n e s , a nd f ro m th e b a c k t hi s is reve r se d ). T h e s e c h ar a cter ist ic s ca n
b e se e n in fi g ure s 7. 6 a n d 7. 8. O ne ch a ng e I m a d e f ro m a n or m a l b i rd wi n g wa s
t he d e f in it io n o f th e la r ge b o n e s in t h e wi ng s. Th e a ct u a l s ke l et al s tr u c t ure o f a
w in g i s ve r y si mil a r to t ha t o f an ar m , s o I b a s e d th e s h ap e o f t h e m a in b o n es
in t he w in g s o n t h e h u m e r u s b o n e ( th a t of t h e u p pe r a r m) , an d t h e siz e is
ro u g h ly t h e s a m e a s t h e hu me r u s b o n e i n t h e C h e r u b ’s a r m s. Th i s wa s to m a ke
it lo o k l ike t hey co u l d fe as i bly l if t a h u m a n. S i n ce t hey re q ui re a lot o f d et a i l,
t hey c o ul d n ot m o r p h fr o m t he m ai n b o d y wi t h th e m or ph in g m et h o d I u se d , so
t hey were a se p a ra te ob je ct . It wo u ld b e a n in tere st in g exer cis e to wor k o u t
h ow w i ng s wo u l d a t t a c h to a hu m a n, a n d wh a t t h e m u scu l ar layo u t wo ul d b e to
m a ke it p o ssi b le .

Fi g 7. 6 (W i ng s fr o m t he fr on t)

37
Fig 7.7 (Wings from the back)

Te ch ni c a l I s s u e s

Th e ch e r u b wa s t h e ha rd e st o f th e s ix ch a ra cte r s to m o de l, b e c a us e i t h ad to
b e cre ate d o u t o f a m es h th a t wa s d e s ig n e d for a n a d ul t b od y. Th is m e a n t t h a t
a la rg e a m o un t o f d et a il h a d to b e fo rce d in to a s ma ll s pa ce , a n d t h a t to p ol o g y
d e sig n e d for de f in in g m u sc le s h a d to b e s mo ot h e d o ut b e c a us e o f t h e ch e r u b ’s
low m u sc le d e f i ni t i o n. Th e w i n g s were a ls o ve r y h ar d ­ a d e ci si o n h a d to b e
m a d e wh et h e r to m a ke th e m o u t o f d u p l ica t i n g lo ts of fe a th e r s, o r m o d el li n g
t he m o ut o f a si ng le p i e ce . I c h o se to m o d e l t h e m o ut of a si n gl e p ie ce a s it
wa s a mo re e n j oyab le a n d ar t ist i c p ro c e ss, b ut for re al , a n i ma ta b le w in g s , I
wo ul d rec o m m e n d h av in g lo ts o f s in g le fe a t h er s.

G ett i n g r e fe r e nc e

I fo u n d t h a t g et t i ng re fe re n c e for b a bi e s wa s fa ir ly ea sy, a s o f te n p e o p le wil l

d e d ic a te w h o le p a g e s o n th e in te rn et to ph otos of t h e ir yo un g ch il dre n , b u t
o f te n th ere is n o e a sy way o f te ll in g h ow o l d a ch il d i s in a p ict u re , a n d si nc e
ch i ld ren g row so fa st , it is q u ite o f te n di f f ic ul t to te ll wh a t si z e th e ch a ra cte r
yo u ’re m ak i ng wo u l d b e . Th is is why it ’s h e l p f u l to u n d e r s ta n d h ow ch il dre n
g row, an d w ha t p a r t s g ro w fa stes t, so t h a t yo u ca n m a ke a n e du ca te d gu e ss at
t he pr o po r t i o n s o f yo ur ch a ra cte r. O t h e r u se f u l so u rce s o f refe re n ce we re
p ic tu re s o f mys e lf a n d s ib li n g s a c hi l d, b a by ca re m a g az i ne s, a nd
st a t u e s /p a in t in g s of ch er u b s ( a lt h o u g h h e re yo u a re rely in g on a n ot h e r ar t ist s
wo r k to b e co r re c t, so ca re sh o u l d b e t a ke n ). W i n g re fe re n c e is e a s y to g et on
t he in te rn et (fo r exa m p le g o o gl e . c o m) .

38
A note on props

Fo r t h e f in a l a ni m a t i o n, e a ch c ha ra cte r ha d a “p ro p ” , wh ich wa s a n o bj e ct th a t
h e lp e d fl e sh t h e m o u t a n d g i ve t h e m ch a r ac ter, b u t c o ul d n ’ t b e cre ate d o u t o f
t he b a s e m e s h. H owever, ba r t h e C h e r u b ’s w in g s , t h e s e we re n ot re al ly
releva n t to in c lu d e h e re a s i t is a n a na to my p ro je ct . For t h e sa ke o f
co mp lete n e ss , I in cl u d e a li st o f p ro p s, w hi c h ca n b e s ee n in t h e f in a l
a n im a t i on :

H u m a n – He a d h ai r
D a e m on – L a rg e c laws
Tro ll – H a m me r
W iz ar d – B e ar d , st a f f
Zo m b ie – I n te st in e h a ng in g f ro m sto m a c h
C h e r ub ­ W i n gs

39
Creating the morphs

W h il st t h is pr o je c t is a t h e ar t a n a n a to my st u dy, to rea liz e it a lo t o f re s e ar ch

a n d t im e ha d to b e s p e nt i n f in din g o u t h ow b est to a ch i eve a m or p h in 3 d, a n d
I fe el t ha t th is i s wo r t h d o c u m e nt in g h e re .

I n a p revi o u s pr oj e ct I h a d re se a rc h e d in to mo r p hi n g , a n d m a na g e d to a ch i eve
it w it h a si n g l e b le n d s ha p e al o n e . Th is wa s d on e by e f fec t ive ly m o d e lli n g o n e
sh a p e ou t o f t h e or i gi n a l , so t h at t h e ve r ti ce s ca n ju st li ne ar ly in te r p o l ate
b et we e n po sit io n s . W hi ls t th i s wo r ke d, it m a d e a n i m at io n d i f f icu lt , a s th e w h o l e
m o r p h wa s c on tr o ll e d by a sin g le bl e n d s h a p e , a n d s o a ny se co n d a r y an im a t i on
b e ca m e di f f ic ul t , a s t he re wa s n o ri g . To a c h ieve so me so r t of re a l ist ic a n d
b e lieva b le m ove m e n t d u r in g t he m o r p h , a ri g wo u ld b e n e e d e d th a t c ou l d
h a n d l e t h e a ni ma t io n wh i ls t t h e b l e n ds h a p e m ove d t h e ve r t i ce s o n to p o f th i s,
e f fe ct ivel y c re a t i n g a t wo­ l aye re d mo r p h .

A r ig n e e d ed to be cre ate d t h a t c ou ld h a n d le th e ext re me ch a n g es in s iz e o f t h e

m o r p h in g c h ar a cter, so b e a b le to s q u a s h a nd st ret ch . I d i d th is by u s in g u t il it y
n o d e s (ex p re s si o n s wo u l d a lso wo r k, b u t wo u ld b e le ss e f fi c ie n t ) wh i c h fo u nd
t he over a ll d is t an ce of a gi ve n s et o f b on e s (e . g. sp i n e o r le g s ), a n d wo u l d
sca le ea ch b o n e a lo n g it s x a xi s so th a t it wou ld b e e q ui va le n t in le n g t h to t h e
ave ra g e l en g t h o f e ac h b o ne , g ive n th e tot a l le n g t h of t ha t set o f b o n e s. Th is i s
a m et ho d o u t lin e d in “ T he A r t o f R i g gi n g : Vo lu m e 1 ” ( se e b i b lio g r ap hy ).

O f co u r s e, t h is r i g o n ly cre a te s a sq u a sh e d o r st re tc h e d h u m a n , th e re is n o way
to, fo r exa m p le , p u sh o u t t h e sto m a c h fo r a fa t ch a ra c te r o r cre a te h o ove s fo r
t he da e m o n . A n i de a l ri g wo u ld b e a b le to h a n d l e a s m u c h o f t h e m o r p h a s
p o ss ib l e, to ke e p it an i m at a bl e , b u t sin c e t h is i s no t a ri g g i n g o r a m o r p h i ng
p ro je c t su c h a r ig wa s u nn e ce s sa r y.

Th e ch a ra c te r wa s ski n n e d , a n d t h e ri g wa s a n im a te d g o i ng f ro m p os e to p o s e,
a n d a t e a c h p o se ( w hi c h wo ul d o f c ou r se b e a n ew c h a ra c te r) , t h e m e s h wa s
d u p li ca te d an d t a ke n i nto ZB r u sh w h e re it co u ld be scu lpte d i nto th e
a p p ro p r ia te sh a p e .

Zb r u s h wa s n e ce ss a r y fo r th is p ro je ct wa s it a ll ow s u s to c h an g e t h e sh a p e of a
ch ar a cter m uc h m ore q u ic kly t ha n in m aya , an d o f te n t h e b l e n ds h a p e s t h a t
wo ul d b e ta ke n o f f t h e ri g ( es p e ci a lly i n a re a s w h ere th e ri g h a s sq u a sh e d )
wo ul d b e a cr u m p le d me ss o f p olyg o n s , wh ich wou ld h ave t a ke n a lo n g t i m e to
sm o ot h o u t u s in g M aya’ s m od e lli ng to o ls al o n e .

Th e m e s h c re a te d wa s fai rl y lig h t in ter m s o f p olyg o n a l d e n s it y ( ar o un d 6 0 0 0

p o lygo n s) , w h ic h wa s n e ce s sa r y to b e a b l e to cre a te ne w sh a p es wit h re l at ive

40
e a se (a ny de ta il th a t wa s c ha ra cte r sp e ci f ic wo u l d h ave m a d e t h e oth e r
ch ar a cte rs ha rd e r to m o de l) . H owever, su c h a lig h t m e sh d i d m e a n t h at t he re is
n o way it co u ld ho ld t h e hi g h e r l eve l s o f d et a i l fo r th e ch a ra cte r s (vein s, b r ai n s
a n d i nte st i n es fo r exa m p l e) , a n d so t hi s is w h e re di s p la c e m en t ma p s n e e d e d to
b e ge n er a ted fo r e a c h c h a ra cte r. A ga i n , ZB r u sh wa s u se d fo r t h is p ro c e ss a s it
a llo ws th e u s e r to “s c ul pt ” d i sp la ce m e n t m a p s a nd exp o r t t h e m a s g reysc a le
im a g e s, r at h e r t h a n h avin g to p a in t th e m a s g reysca l e i m a ge s a n d es ti m a te t h e
e f fe ct t h ey wi ll h ave w h en t ra n sl ate d int o 3 d sp a ce .

Th e id e a was to h ave a l aye re d tex t ure pl u g g e d i nto th e d i sp l a ce m e n t fo r t h e

sh a d e r wi th e a c h d i sp la c e m e n t ma p p lu g g ed i n to it a n d laye re d . A s t he m o r p h
p ro g ress e d , th e text u re s wou ld b e c o m e mo re t ra n s pa re n t to reve a l t h e
u n d e r ly in g o n e s, t hu s crea ti n g a t r a n sit i o n b et we e n m a p s, a n d a mo r p h i n g
e f fe ct . O n e ma jo r p ro ble m w it h t h is wa s th e is su e o f U V s. Fo r t h e d is p la c e m e nt
m a p s to re n de r a ccu r ate ly, t h e c ha ra cte r’ s U V s ha d to b e la i d o ut we l l.
H oweve r, t h e p olyg o n s ch a n g e sh a p e s o mu ch i n t h e p ro ce ss of t h e mo r p h , t h a t
a sin g le U V se t wi ll si m p ly d is to r t to o m u c h a nd no t b e u sa b le fo r m ore t h a n
o n e c h ar a cte r. Th e ref ore , it is n e ce ss ar y to cre a te a se p a r ate U V se t pe r
ch ar a cter. G ive n th a t t h ere we re si x c h ar ac te r s, it wo u ld be i d e al to u s e Maya’ s
a u to m at ic m a p p i n g to preve n t th e n e e d to U V a ll th e c h ar a cte r s by h a n d .
Un fo r t u n a te ly, wh e n ta ki ng d is pl a ce m e n t m a ps o u t o f Zb r u sh , t h e re a re
so met i m e s s lig h t ly no ti c e ab le s ea ms t ha t n e e d to b e to u ch e d u p in P h oto s h o p .
W it h an a u to m a t i c m a pp in g , th e re wo uld b e h u n d re ds of s e a m s, p ote n t ia lly
cre at in g a n u n de sir ab le e f fe ct . T h is m e an t t h at a ll six ch a r ac te rs n e e d e d to b e
U Ve d by h a n d , wh ic h wa s c ost ly in te r ms o f t h e la rg e a mo u nt o f t im e t h a t i t
too k, b u t n e c e ss ar y to b e a b le to re n d e r ou t th e d et ai l s o f t h e c ha ra cte r s.

H oweve r, t h is t h e n l e ad s to a n ot h e r la rg e st u m b l in g b l oc k. At t he t im e o f
w ri ti n g , M aya (ve r si o n 6 . 5 ) is un a bl e to h a n d l e U V set s su f f ici e n t ly we l l to
b le n d be twe e n d i sp l a ce m e n t m a p s. I t is in ca p a bl e o f ren d er in g a ny U V set t h a t
is no t t h e de fa u lt o n e. Th e way a ro u n d th i s wa s a cu sto m m e n t a l ray sh a d e r
( se e ap p e nd ice s), w r it te n by Jim m i G r ave s e n s p ec if ic al ly fo r t h is p ro j e ct . It
e ss e nt ia l ly bl e n d s b et wee n text ure s, a n d lin ks th e s e to t he a p p ro p r ia te U V
m a p s. Th e sh a de r c a n be fo u n d i n th e a p p e n di c es .

To s u m m ar is e , t h e m o r ph wa s a ch ieve d t h ro u g h t h re e se p a ra te te ch n iq u e s ­ a
r ig fo r an im a t i on , b le n d sh a p e s fo r a c cu ra te bo d y sh a p e s, a n d d isp la c e m e nt
m a p s f or d et a il s.

41
Critical Evaluation

To eva lu a te th e su cc e s s of t h e ove ra ll p roj e ct , it wou ld se e m ap p ro p ri a te to

b re ak i t d ow n i nt o t wo p a r t s ­ f ir st ly h ow we ll it wo r ke d a s a n e d u ca t io n al p ie c e,
i. e . w he t h er by wat ch i n g t h e a n i ma ti o n a n d re a d i ng t he re p o r t so m e o n e wo u ld
b e in a b et te r p o si ti o n to d e s ig n / m o d e l a h u m a no id ch a ra cter, a nd se co n d ly
h ow be lieva b le t h e ch ar a cte rs cre a te d fo r th e f ina l a n i ma t io n were , b e c a u se i f
t he se were b a dly mo d el l ed t he n th e wh o l e p ro je c t la c ks cre di b il it y. Re a d i n g t h e
re p or t ret ro s p ec t i ve ly, I d o fe e l th a t i t wo ul d b e a u s ef u l re so u rc e if I we re to
cre a te t h e c h a ra cte r s a g a in no t h av in g th e u n d e r st a n d i n g t h a t I d o n ow, h avi n g
d o n e t h e p ro je c t. C e r t a in as p e ct s we re ve r y ch a l le n g i n g ­ fo r exa m p le , w hy
d o e s a ch a ra cte r b a s e d o n a n o ld m an l o o k t h e way h e d o e s ? E ver yo n e h a s
t he ir ow n id e a i n th e i r h e a d a bo u t ho w h e sh o u ld lo o k, b u t to a ct u a l ly cre a te
t hi s i n th re e d im e n s io n s , wh ere p rec isi o n is ever yt h in g (a ssu m i n g o n e w ish e s
to m a ke a " re a l" ch a ra c ter ), is a ver y d i f fe re n t sto r y. H ow c an yo u k n ow w h a t
h is le g s or b u t to c ks lo o k like ? P i ct u res o f 7 0 + ye a r o ld s sh ow in g a ny a m o u n t o f
n a ke d ski n a re ve r y h a r d to fi n d. I t is t h e se t yp e s o f p ro b l e ms t h a t I
e n co u n te re d in i t ia lly, an d e n d e avo re d to a n s we r in my re p o r t .

I n th i s re g ar d , I fe el t ha t th e p ro j e ct su c ce e d s. T h e la rg e a m o un t o f t im e I
sp e n t f in d i n g o u t w ha t t h e n ua n ce s a n d la n d m a r ks of a ce r t ai n b o dy t yp e are
wo ul d b e cut d ow n su b st a n t i al ly if I we re to h ave re a d th e re p o r t b ef o re sta r t i n g
t he pr o je c t. Havi n g s ai d t h a t , th ere a re ve r y few s h o r t cu t s in cre a t in g re a l ist i c
ch ar a cte rs , a n d g et t i ng a f ir m g ra s p o f a n a to my a n d le a rn in g ho w to ap p ly t h is
u n d e r st a n d i n g in 3 d i s a t i m e co n s u mi n g p ro ce s s, a n d th e re is o nl y so m uc h a
p ro je c t like th is ca n d o to sp e ed th a t u p.

Th e a ct u al m o de ls were cre ate d to t h e b es t o f my a b il it y g ive n t h e a m ou n t o f

t he m a nd t he t im e c on st ra in t s. W hi ls t I ca n n ot cla i m t h at th ey d o n ot h ave a
g re at n u m b er o f in a ccu ra ci es , g re at ca re wa s t a ke n to m a ke t he m
f u n d a m e n t a lly a c cu ra te , a nd t h ey were cro ss ­refe re n ce d w it h a n u m b e r o f ot h er
a r t is ts to c he c k fo r n ot ic e a b le e r ro r s. Ea ch m o d e l in t h e ir ow n r ig h t I fe el wa s
m o d e ll e d we l l a n d is b e l ieva b le .

H oweve r, o n e i ssu e t ha t a f fec te d th e q u a li t y was t h a t I wa s u na b le to g et th e

d et a il t h at I h a d cre ate d in Z B r us h i nto my f in a l re n d e r s in M aya. G e n e ra ll y t hi s
is an is su e w h e n t a ki n g d is p la c e m e nt ma p s o u t o f ZB r u s h, as it let s yo u m o d e l
a t a ve r y h ig h d et a il ( ove r t wo m il lio n p olyg o n s ), a n d g et ti n g t h es e re su lt s i n
M e n t a l Ray t ake s t i m e twe a ki n g a n d re fi n in g, wh ic h u nf or t u n a tel y I d id n't have .
Th is a l so res u lte d i n a sl ig h t ly d i f fe re n t a p p e a r an ce to so m e o f th e c ha ra cte r s,
w h ic h wa s m os t n ot ab le i n th e c h e r u b, a s h e lo st s o m e of hi s " cute n e s s" i n th e
f in a l re n d e r. Cu rre nt ly it is n ot kn ow n wh e re a l o ng t he li ne th e d et a il was lo st ,
m o st li ke ly in t he re so lu t i on o f th e d isp l ac e m e n t m a p s (w h ic h we re e i t h er 4 0 9 6

42
by 4 0 9 6 o r 819 2 by 819 2 ) , wh ic h we re no t h ig h e n ou g h to ca r r y t h e d et ai l
a cro ss . A sol u t i o n to t his wo ul d h ave b ee n to h ave se p a ra te U V sp a c e s for
var i ou s p a r ts o f t h e b o d y, so t h at m ul t i p le m a p s co u ld be exp o r te d fo r a s in g le
m o d e l. However, w it h t h e is su e s t h at cro p p e d u p re ga r d in g UV s, t hi s wo u l d
si m p ly h ave cre ate d to o ma ny pr o bl e m s a n d wa s n ot via b l e w it h in t h e sco p e o f
t he pr o je c t. I ns te ad , th i s re p o r t u s e s s cre en sh ot s fr o m wit h i n ZB ru s h ra t h e r
t ha n th e re n d e r s fr o m Me n ta l Ray so t ha t th e d et a i l i s m u c h mo re re a da b le , a n d
t hu s st i ll se r ve s a p u r p o se s o me wh e re .

H ow m uc h t h e f in a l p ie c e wi th o ut th e re p o r t ai d s i n u n d e r st a n d in g th e
im po r t a n c e o f an a to my in ch a r ac te r d es i gn is de b at a bl e . Cl ea rly, p e o p l e w i ll
n ot im m e di a te ly u n d e r st a n d th a t t h e p ro je ct is a st u dy in a n a to my ju st by
wa t c h in g a ch a ra cte r m o r p h i nt o ot h er c h ar a cte r s. Howeve r, sin ce th e st a r ti n g
ch ar a cter i s c le a rly h u m a n , s e ei n g h ow th is ca n b e a b a s is for ot h e r ch a ra cte r s
w ill , it i s h o p e d , e d u c a te th e viewe r mo re t h a n j us t lo o ki ng a t si x s ee mi n g ly
u n rel a ted ch ar a cte rs , a n d ho p ef u lly in sp ire t h o se w it h a n i nte res t in ch ar a cte r
cre at io n .

Wa s t h e mo r p h n ec e ssa r y fo r t h is p ro j ec t ? Ch o o s in g to h ave t h e c h a ra c te r
m o r p h in to hi s d if fe ren t t yp e s o f a n ato my wa s a d e ci si o n th a t h u g e ly a f fe cted
t hi s p roj e ct . Th e t i m e sp e n t re se a rc hi n g m o r ph in g a n d t h e t i me sp e n t m a ki n g it
a re ali t y ( rig g i n g , sk in n i ng , u vin g, an d g e n e ra l p ro b le m s ol vin g) wa s
co n s id e ra b l e, a n d t h is co u l d h ave b e e n s p en t fu r th e r exp l or in g th e p ote n tia l o f
a n a to my in c h ar a cte r d e si g n , l o ok i ng at th e fe m a l e fo rm , o r q u a d r u p e d s, o r
b ird s, or i ns ec t s ­ t h e re is a n in f in ite ra n g e o f ch a ra cte r s we ca n c re a te
in s pi red by t he wor ld ar o un d u s, a n d p er h a p s th i s p ro j e ct wo u ld h ave b e n ef ite d
f ro m d e lv in g f u r t he r i nto th i s p oten ti a l.

A s p revi o u sly m e n t io n e d, t h o u g h , I wa nte d a n an im a t i on t ha t wo u ld g i ve th e

vi ewe r ju st an i n kli n g o f w h at c a n b e d o n e by u s in g a n at o my a s a b a se fo r
ch ar a cte rs , a n d a lt h o u g h cre a ti n g a b ro a d e r ra n g e o f n o n ­ m o r p h i n g ch ar a cte rs
wo ul d h ave d e mo n st ra te d m o re exa m pl e s of t hi s, t h e re wo u ld h ave b e en no
in c en t ive to m ake t h e co n n e c ti o n th a t t hey are b a se d o n re a li t y. U lt im a te ly, it is
n ot fo r m e to d e m o nst ra te al l th e ways in w hi c h d if fe re n t ty p e s of an a tomy
co u ld b e u s e d in c ha ra cter d e s ig n . I f t h i s p ro je c t se r ve s it s p u r p os e a n d is t h e
sl ig h te st b it of in sp ir a ti o n to ot h e r a r t is t s, t h e n it i s u p to t h e m to ex pl o re it fo r
t he ms e lve s.

43
Reference

Books:

SIMBLET, S., 2001. Anatomy for the Artist. Great Britain: Dorling Kindersley Limited

DELAVIER, F., 2006. Strength Training Anatomy. Second edition. France: Editions Vigot

HAMM, J., 1983. Drawing the head and figure. New York: Berkley Publishing Group

LUCCHESI, B., 1979. Modeling the Head in Clay. United States: Watson­Guptill
Publications.

HAGENS, G.V., 2005. Bodyworlds. Germany: Institut for Plastination.

BROWN, H. AND LEHRMAN, L.B., Date unknown. Harley Brown’s eternal truths for
every artist. United States: international Artist

Lucchesi, B., 1980. Modeling the figure in Clay. United States: Watson­Guptill
Publications.

ELLENBERGER, W. AND DITTRICH, H. AND BAUM, H.,1949. An Atlas of Animal

Anatomy for Artists. Second revised English edition. United States: Dover Publications,
Inc.

DVD:

th
SCHWARZENEGGER, A., 1977. Pumping Iron The 25 Anniversary Special Edition.
[DVD], Warner Home Video

Websites:

N/A, N/A, 2006. Available from: www.bbpics.com [Accessed 27th January 2006]

SA N D STO RR M , O., 2005. Wing Anatomy Tutorial. Avai la b le f ro m :

h t t p : / / o r io n . a n i ma lt ra c ks . n et / w in g a. h t ml [Accessed 25 January 2006]
th

N/A, N/A, 2006. Available from: www.manboobs.com [Accessed 27th January 2006]

44
Appendix

The following is the mental ray shader written by Jimmi Gravesen to blend between UV sets in
this project

#include <shader.h>
#include <stdio.h>

struct result {
miColor color;
miScalar alpha;
};

struct UVsetBlend {
miScalar debug;
miTag color1;
miScalar blend1;
miTag color2;
miScalar blend2;
miTag color3;
miScalar blend3;
miTag color4;
miScalar blend4;
miTag color5;
miScalar blend5;
miTag color6;
miScalar blend6;
miTag color7;
miScalar blend7;
miTag color8;
miScalar blend8;
miTag color9;
miScalar blend9;
miTag color10;
miScalar blend10;
};

DLLEXPORT int UVsetBlend_version(void) {return(1);}

DLLEXPORT miBoolean UVsetBlend(

struct result *result,
miState *state,

45
 struct UVsetBlend *paras)
{
miScalar debugs = *mi_eval_scalar(&paras­>debug);
miScalar blend1 = *mi_eval_scalar(&paras­>blend1);
miScalar blend2 = *mi_eval_scalar(&paras­>blend2);
miScalar blend3 = *mi_eval_scalar(&paras­>blend3);
miScalar blend4 = *mi_eval_scalar(&paras­>blend4);
miScalar blend5 = *mi_eval_scalar(&paras­>blend5);
miScalar blend6 = *mi_eval_scalar(&paras­>blend6);
miScalar blend7 = *mi_eval_scalar(&paras­>blend7);
miScalar blend8 = *mi_eval_scalar(&paras­>blend8);
miScalar blend9 = *mi_eval_scalar(&paras­>blend9);
miScalar blend10 = *mi_eval_scalar(&paras­>blend10);

miColor outPut;
miColor current;
outPut.r =0;
outPut.g =0;
outPut.b =0;
outPut.a =0;

int n;
if( ! mi_query( miQ_NUM_TEXTURES, state, miNULLTAG, &n ) )
{
printf("SHIT!!!\n");
};

int i;
if(debugs)
{
for(i = 0; i < n; i++)
{
printf("UV set %d: %f , %f \n", i+1, state­>tex_list[i].x, state­>tex_list[i].y);
}
}

if(blend1 > 0)
{
miTag texTag = *mi_eval_tag(&paras­>color1);
mi_lookup_color_texture(&current,state,texTag,&state­>tex_list[0]);
outPut.r += current.r * blend1;
outPut.g += current.g * blend1;
outPut.b += current.b * blend1;

46
 outPut.a += current.a * blend1;
}

if(n > 1 && blend2 > 0)

{
miTag texTag = *mi_eval_tag(&paras­>color2);

mi_lookup_color_texture(&current,state,texTag,&state­>tex_list[1]);
outPut.r += current.r * blend2;
outPut.g += current.g * blend2;
outPut.b += current.b * blend2;
outPut.a += current.a * blend2;

}
if(n > 2 && blend3 > 0)
{
miTag texTag = *mi_eval_tag(&paras­>color3);

mi_lookup_color_texture(&current,state,texTag,&state­>tex_list[2]);
outPut.r += current.r * blend3;
outPut.g += current.g * blend3;
outPut.b += current.b * blend3;
outPut.a += current.a * blend3;
}
if(n > 3 && blend4 > 0)
{

miTag texTag = *mi_eval_tag(&paras­>color4);

mi_lookup_color_texture(&current,state,texTag,&state­>tex_list[3]);
outPut.r += current.r * blend4;
outPut.g += current.g * blend4;
outPut.b += current.b * blend4;
outPut.a += current.r * blend4;
}

if(n > 4 && blend5 > 0)

{
miTag texTag = *mi_eval_tag(&paras­>color5);

mi_lookup_color_texture(&current,state,texTag,&state­>tex_list[4]);
outPut.r += current.r * blend5;
outPut.g += current.g * blend5;

47
 outPut.b += current.b * blend5;
outPut.a += current.a * blend5;
}
if(n > 5 && blend6 > 0)
{
miTag texTag = *mi_eval_tag(&paras­>color6);

mi_lookup_color_texture(&current,state,texTag,&state­>tex_list[5]);
outPut.r += current.r * blend6;
outPut.g += current.g * blend6;
outPut.b += current.b * blend6;
outPut.a += current.a * blend6;
}
if(n > 6 && blend7 > 0)
{
miTag texTag = *mi_eval_tag(&paras­>color7);

mi_lookup_color_texture(&current,state,texTag,&state­>tex_list[6]);
outPut.r += current.r * blend7;
outPut.g += current.g * blend7;
outPut.b += current.b * blend7;
outPut.a += current.a * blend7;
}
if(n > 7 && blend8 > 0)
{

miTag texTag = *mi_eval_tag(&paras­>color8);

mi_lookup_color_texture(&current,state,texTag,&state­>tex_list[7]);
outPut.r += current.r * blend8;
outPut.g += current.g * blend8;
outPut.b += current.b * blend8;
outPut.a += current.a * blend8;
}
if(n > 8 && blend9 > 0)
{
miTag texTag = *mi_eval_tag(&paras­>color9);

mi_lookup_color_texture(&current,state,texTag,&state­>tex_list[8]);
outPut.r += current.r * blend9;
outPut.g += current.g * blend9;
outPut.b += current.b * blend9;
outPut.a += current.a * blend9;

48
}
if(n > 9 && blend10 > 0)
{
miTag texTag = *mi_eval_tag(&paras­>color10);

mi_lookup_color_texture(&current,state,texTag,&state­>tex_list[9]);
outPut.r += current.r * blend10;
outPut.g += current.g * blend10;
outPut.b += current.b * blend10;
outPut.a += current.a * blend10;
}

result­>color.r = outPut.r;
result­>color.g = outPut.g;
result­>color.b = outPut.b;
result­>alpha = outPut.a;

return(miTRUE);
}

49