ZBrush 3.5 Tutorials

ZBRUSH 3.5 TUTORIALS

ABOUT THE ZBRUSH 3.5 TUTORIALS
Welcome to the ZBrush 3.5 Tutorials! What is the best way to learn the new features of ZBrush 3.5? How about the best tutorials available, made by the top ZBrush artists! In these pages, discover illustrated lessons that teach how to use the new ZBrush features with simple and / or advanced techniques which can help you become a ZBrush expert in no time. You’re invited to visit our ZClassroom for a huge database of free high quality movies explaining all the main ZBrush features, including the new additions introduced with . We also encourage you to explore the Artists Spotlight, where famous 3D Artists explain how they use ZBrush and help inspire you to create like the pros. There is a link to the online documentation for ZBrush 3.1, where you can learn more about features not covered in this guide. A good strategy is to read the What’s New guide first in order to familiarize yourself with where changes have been made. Then as you use the online documentation you will be able to easily refer back to this guide any time you encounter something online that doesn’t match your copy of ZBrush. Don’t forget to subscribe for free to our ZBrushCentral community with over 170,000 members to discover tips, view artists’ creations, locate useful help for all things related to ZBrush or post your works-in-progress! ZClassRoom Portal: http://www.pixologic.com/zclassroom/ ZBrushCentral: http://www.zbrushcentral.com/ ZBlog: http://www.pixologic.com/blog/ Pixologic.com: http://www.pixologic.com The Pixologic Team

© 2009 Pixologic, Inc. All rights reserved, Pixologic and the Pixologic logo, ZBrush, and the ZBrush logo are registered trademarks of Pixologic, Inc. All other trademarks are the property of their respective owners.

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ZBrush 3.5 Tutorials

TABLE OF CONTENTS

ABOUT THE ZBRUSH 3.5 TUTORIALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 TABLE OF CONTENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 FACIAL ANATOMY FROM ZSKETCH BY TY SHELTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
1. 2. 3. 4. 5. 6. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 The Skull . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Facial Anatomy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 The Flesh Exterior . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 List of Files and references . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 About Ty Shelton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

FLYING STINGY THING BY JOSEPH DRUST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 2. Quick Interface Breakdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 3. QuickSketchSetup to ZSphere Armature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 4. ZSketching on the ZSphere Armature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 5. ZSketch to Unified Skin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 6. Simple Form Sculpting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 7. Using Polypainting to Establish Polygroups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 8. Polygrouping and GroupLoops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 9. Adding More Detail (Secondary Sculpting Pass) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 10. Polishing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 11. Breaking up the Mesh into SubTools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 12. Final Detailing Part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 13. Making a Spike Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 14. Final Detailing Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 15. Various Renders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 16. Decimation Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 17. List of Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 18. About Joseph Drust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

NOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

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ZBrush 3.5 Tutorials FACIAL ANATOMY FROM ZSKETCH BY TY SHELTON 4 .

INTRODUCTiON I don't know many artists out there who would rather extrude edges all day than have the ability to mold and sculpt organic. 5 . To do this. far more awesome creations of your own! Be sure to check out «Sketching with ZSpheres Basics» in the Pixologic ZClassroom Homeroom to help familiarize yourself with the basic functionality of all the different ZSketch tools. My hope is that you will be inspired to take the processes and ideas shared in this tutorial and expand upon them with other. With ZBrush 3. THE SKULL Lets begin by loading a new ZSphere onto the canvas.5 Tutorials 1. http://www.com/zclassroom/homeroom/ 2.pixologic. digital clay. The following tutorial is a quick glimpse at one of the many work flows for using ZSketch to create a study of the human head. simply select the 'ZSphere' button located in the 'Tool' palette.5 and the astounding new ZSketch features. quickly and efficiently creating any shape the heart desires. this idea has now become a reality.ZBrush 3.

Now. Click the tab once to expand the ZSketch sub palette and toggle on the 'EditSketch' button. Select the 'Sketch 3' brush. then.5 Tutorials Once the ZSphere is drawn onto the canvas. We now have full use of all of the ZSketch brushes. You can also enter «ZSketch Mode» by simply hitting 'Shift+A' on your keyboard. lightly drag your mouse in any direction until you see two single 6 . click and hold on one side of the ZSphere. You can also enter in to/out of «edit mode» by hitting 't' on your keyboard. is toggled on. located on the top left hand side of your screen. Go to the tab labeled 'ZSketch'. make sure that the 'Edit' button. Sweet! A fresh new ZSphere ready to go! To begin creating the skull. Now. located in the 'Tool' palette. You will notice the ZSphere on your canvas change to a smooth shaded sphere when working in ZSketch Mode. we are going to jump straight into ZSketch mode. Lets add a few ZSketch spheres onto the surface of our original ZSphere in order to start building up an armature/base for the skull.ZBrush 3. hit 'x' on your keyboard in order to turn on symmetry in the x axis.

Similarly. creating chains of spheres that form together like strips of clay. which. we will be using the original ZSphere as a placeholder for the Foramen Magnum. you will find yourself laying down long. for this step. Go ahead and add a third sphere directly in the middle of the original ZSphere.ZBrush 3. using a light touch. the hole in the base of the skull through which the brain would connect to the spinal cord.5 Tutorials spheres pop on to the surface. smooth strokes. However. we can easily create single spheres. To draw exactly in the center. 7 . move the brush cursor closer to its symmetrical twin until the two snap together as one and the brush cursor turns green. These first two ZSketch spheres will be used as placeholders for the eye cavities of the skull. In most  cases. while ZSketching. at the moment are exactly what we want to work with.

Scale up the «volume» sphere as well and place it above the original ZSphere but behind the eye cavity spheres. Keep your brush size relatively small during the move and scaling process. Begin by scaling up the eye cavity spheres and placing them out to the front.5 Tutorials This newest sphere we will use as a starting mass to help fill the volume in the center of the of the skull. Here you can see a more visual representation of how the spheres should eventually fit inside of the skull. just to the right side of the 'Edit' button. keep in mind that it will still need to fit inside of the of the cranium. With the three spheres now created. This sphere will be the largest.ZBrush 3. 8 . switch over to the 'Move' and 'Scale' tools in order to position and size them all correctly. This will help make sure that you only modify the desired sphere(s) without effecting the others close by. You will find these located on the top left hand side of your screen. Think of it as a balled up wad of tin foil that will be used as a base for adding clay. however.

a slower brush stroke will lay down spheres that are much closer together. whereas. Now the real fun begins! Using the 'Sketch 1' brush. Do this by selecting the 'Draw' button. Or. I find that a nice. Therefore. You can also hold down the 'Shift' key and gently smooth out/together your ZSketch stokes. Remember. the direction of your brush stroke is based off of the current camera angle.ZBrush 3. a really fast brush stroke will lay down spheres that are further apart. even stroke. Next. it is necessary to constantly rotate to different angles of your model until you find the best angle for each specific stroke. lets start roughing in the front part of the skull. somewhere in the middle usually works the best for me. continuing all the way down to the top of the upper teeth. while using the 'Armature' brush. 9 . For example. simply hit 'q' on your keyboard. located directly to the left of the 'Move' button on the top left hand side of your screen. the smoothness of your brush stokes will directly effect how even the ZSketch spheres are drawn on the surface. begin shaping out the sides of the nasal bone. go ahead and switch back to «draw» mode. Keep in mind that. Using the 'Armature' brush.5 Tutorials Once you are happy with the proportions and placement of your spheres. begin roughing in the edges of the eye cavities.

Don't forget to clean up your ZSketch stokes using the different smoothing brushes. switch over to the 'PushPull' brush. As the front part of the skull begins to take shape. Use this brush combination to give the forehead some mass. The 'Move' and 'Scale' tools are also still available to help you massage your ZSketch strokes into place. be sure to use the 'Smooth 3' brush in order to keep the placement of the armature intact. temporal bones and outline the edges of the nasal cavity. once you have the necessary mass. When smoothing out the open ends of a well placed armature stroke.ZBrush 3. Then. Often times you will find that your first few ZSketch strokes are purely used for creating the volume that you need. Continue using the same exact methods to build in the cheek bones. 10 .5 Tutorials Once you've laid down a few solid strokes with the 'Armature' brush. Using the 'Sketch 2' brush and smoothing in the results with 'Smooth 1' works very efficiently for this. go ahead and start filling in some volume in between your main armature strokes. This is a perfect tool for refining the curvature of your armature strokes. you can lay down some cleaner strokes on top to define the final shape.

5 Tutorials Continue to fill in gaps and block in the forms on the front of the skull. Position the model so you can clearly see the back of the eye cavity placeholder spheres. 11 . Using the 'Sketch 2' brush.ZBrush 3. lay down both a horizontal stroke and a vertical stroke along the back surface of the eye cavity placeholder spheres. Now that we've got a nice start on the front. its a good time to ZSketch the actual eye cavities.

rotate back to the front and delete the eye cavity placeholder spheres by holding down the 'Alt' key and simply clicking on one of them.ZBrush 3.5 Tutorials Now. Switch back to the 'Sketch 1' brush and begin filling in the gaps until you have two full eye cavities. 12 . If you do not see them disappear immediately. Use the 'PushPull' brush to help round out the final shape. you may need to rotate your camera a bit in order for the changes to update on the canvas.

select the 'Armature' brush and start to rough in the basic shape of the jaw. 13 .5 Tutorials Alright. fill in the volume of the jaw. this skull needs a jaw bone! Once again.ZBrush 3. Using all of the previous ZSketching techniques.

like the back of a skull. You will definitely end up with a cleaner mesh for sculpting if the ZSketch is not riddled with too many unnecessary strokes. it is beneficial to use a bigger brush size for creating larger shapes. Many times. remember that we will be refining all these shapes when we do sculpt them so don't get bogged down or discouraged in trying to create that one perfect ZSketch stroke that is going to represent the entire back half of the skull.5 Tutorials Continue on to creating the back of the skull. However. 14 .ZBrush 3.

go ahead and begin adding in a bit of detail. As we near the completion of the ZSketch. the skull is really beginning to take shape. including the entire underside as well as the backside of the jaw bone. make sure you fill in all of the remaining holes on the skull. 15 . This should mainly consist of single ZSketch strokes that represent things like the teeth. etc. the anterior nasal spine at the base of the nasal cavity. Once you are satisfied with the overall shape. the mastoid process behind the ear cavity. It should start to become very obvious as to which areas are coming together well and which areas still need a bit of work.ZBrush 3.5 Tutorials At this point.

go to the tab labeled 'Polygroups'. turn on the button labeled 'PolyF'. Finally. go back to the ZSketch sub palette and click the 'Optimize' button. we can go ahead and just group them all together in one single polygroup for now. located in the 'Tool' palette. located just to the right hand side of your canvas.5 Tutorials Now.ZBrush 3. You will notice that ZBrush has automatically created a «polygroup» for every one of the individual ZSketch strokes. 16 . Though this can be extremely helpful in many situations. To do this. This will clear out all of the ZSketch spheres that have been completely covered over by other ZSketch strokes and are no longer playing a role in the visible shape of the object. Click the tab once to expand the Polygroups sub palette and select 'Group Visible'.

go to the 'Tool' palette. default values. its a good idea to make sure that you save your ZTool. we've now got a ZSketched skull! Its time to sculpt this bad boy! If you have not done so already. located in the 'Tool' palette. click the 'Save As' button and save the file with a new name. go ahead and click the 'Preview' button. ZBrush will generate 17 . Go to the tab labeled 'Unified Skin'. Leaving all of the settings at their current. Click the tab once to expand the Unified Skin sub palette. Now we are ready to convert the ZSketch skull into a Unified Skin that we can sculpt on.ZBrush 3. To do this.5 Tutorials Alright.

go ahead and click the 'Make Unified Skin' button. the default settings work great.5 Tutorials an exact preview of what the Unified Skin would look like if created with the current settings. Don't get discouraged if your skull is reacting a bit differently while creating the Unified Skin.ZBrush 3. For my skull. When you are you satisfied with your preview. 18 . The results will vary with every model so feel free to play with different settings until you find what works best for you. The new mesh will be created and automatically stored (not saved) up in the 'Tool' palette.

the cheek bones. Now its time for some good old fashion sculpting! The 'mPolish' brush (m is for medium) is fantastic for smoothing and shaping the large surface areas like the top of the skull. jaw. I also use a lot of the 'ClayTubes' brush to help quickly refine areas like the eye and nasal cavities. As always. 19 .5 Tutorials Select the new mesh and draw it onto the canvas. etc. Make sure you are in «edit mode». it is also a good idea to tidy up your work with the smooth brushes. hit 'x' on your keyboard in order to turn on symmetry in the x axis.ZBrush 3. And finally.

ZBrush 3. pay attention to which areas have already started to shape up well from the ZSketch process and strive to keep all that hard work intact. 20 .5 Tutorials As you are sculpting the skull.

We now have a roughly finished skull that can be used as a base for building the rest of the facial anatomy! Once again.5 Tutorials Don't forget to constantly use solid reference material as you work. make sure that you save out your ZTool with a new file name! 21 .ZBrush 3.

FACiAL ANATOMY The first thing that you need to do before kicking off the anatomy ZSketch is to build a set of eyeballs that fit inside of your previously made skull and append them in as subtools. 22 .ZBrush 3.5 Tutorials 3. go to the tab labeled 'SubTool'. Click the tab once to expand the SubTool sub palette and select the 'Append' button. To append in a subtool. If you are using my skull as a starting point for this section of the tutorial you will just need to unhide the eyeballs from within the 'SubTool' palette. located in the 'Tool' palette.

go to the 'SubTool' palette and use the 'Append' button. The new ZSphere will be loaded in at its default size and directly in the center of the skull.ZBrush 3. Once again. 23 . Select the ZSphere and hit 'x' on your keyboard in order to turn on symmetry in the x axis. lets append in a new ZSphere from which to start the new anatomy ZSketch.5 Tutorials Now.

position the new ZSphere inside of the hole in the base of the skull.5 Tutorials Using the 'Move' and 'Scale' tools. 24 . hit 'q' on your keyboard to switch back into «draw» mode and extend down two more sections of the ZSphere to use as an armature for the neck.ZBrush 3. When you are ready.

simply hit 'Shift+A' on your keyboard. you will notice a lot less of the 'Armature' brush and a lot more of the 'Sketch' brushes this time around. then. filling in the shape on the nose. The skull provides such a great base to build on top of that things will start to take shape very quickly. however. adding some volume to the Orbicularis Oris and roughing in the Buccinator muscle which runs at an angle beneath of the Masseter and the Orbicularis Oris. Lay down some initial ZSketch strokes for the Masseter muscles. We are going to use many of the exact same ZSketching techniques as we did on the skull. Select the 'Sketch 1' brush and begin ZSketching directly on top of the skull. Continue to lay down strips of «digital clay».ZBrush 3. Or.5 Tutorials Now for the good stuff! Go to the 'ZSketch' sub palette and toggle on the 'EditSketch' button. move on to block in the mouth area. as well as the end of the nose. 25 .

ZBrush 3.5 Tutorials

Remember to lightly smooth out/together your ZSketch strokes as you go.

Next, begin shaping in the Orbicularis Oculi that form around the eyes. Starting from the cheek bone, draw over to the top corners of the Orbicularis Oris to add in both the Zygomaticus Major and Zygomaticus Minor.

Take some time to enhance and refine all of the muscle structure that has been added so far. Add in a bit of shape for the Procerus, above the bridge of the nose as well as the beginnings of the Epicranius (or Frontalis) that covers the forehead.
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ZBrush 3.5 Tutorials

Nice! We're now seeing the beginnings of a face attached to the front of our skull!

Using a relatively small brush size, keep your ZSketch strokes as clean as possible while filling in the rest of the Epicranius and building the Temporalis and the Occipitalis portion of the Epicranius.

With the facial muscles beginning to take shape, now is good time to start blocking in the ears. In order to help us achieve the position and shape of the ears, we are going to append in a 'Plane3D'. Go back into the 'SubTool' palette and select the 'Append' button.

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ZBrush 3.5 Tutorials

Locate the 3D-Primitive called 'Plane3D' from the menu and click on it.

You will immediately see the following option box pop onto your screen. Select 'Yes' to append a sculptable version of the plane.

The plane will be loaded in at its default size and directly in the center of the head. Select the new plane in the 'SubTool' palette and use the Transpose tools (Move, Scale and Rotate) to position it correctly.

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ZBrush 3. 29 . size and angle of the plane until you are happy with its orientation.5 Tutorials Tweak the position.

5 Tutorials When you are satisfied. 30 .ZBrush 3. switch back into «draw mode» by hitting 'q' on your keyboard. Now. using the 'Sketch 1' brush. starting with the Helix and continuing all the way down to the ear lobe. rough in the outer edge of the ear. Re-select the anatomy sketch from the 'SubTool' palette.

5 Tutorials Hide the plane to continue shaping the ear. The 'PushPull' brush and the 'Bulge' brush are excellent tools for enhancing the shape of the ear. Use the 'Armature' brush to add in the Antihelix.ZBrush 3. 31 .

5 Tutorials Next. it is a good time define where the base of the sculpt is going to be. start laying down strokes that represent the specific muscles. lets start blocking in this guys neck. scale your brush up a bit and begin adding in some volume. Now that we are beginning to see a bit more of something that looks like a head. The Sterno Mastoid is always one of the most obvious muscles in the neck and a good place to start developing a flow that will help guide the remaining muscle structure. Once you have a large enough surface to build upon.ZBrush 3. keeping in mind that it should still follow the contours 32 . Use the 'Armature' brush to outline the bottom edge of your sculpt. Using our previously made neck armature as a guide.

5 Tutorials and shape of the neck. Now that we have a bit more muscle structure at the base of the skull. start filling the back and interior parts of the ear. Continue filling in the anatomy on the front part of the neck. 33 .ZBrush 3.

adding in way too many unnecessary ZSketch strokes. focus on using a limited amount of strokes very efficiently in order to simply represent the major forms of the ear.ZBrush 3. Ears are extremely complex shapes and it can be easy to get carried away. Be sure to hit up the muscles on the back of the neck as well.5 Tutorials Don't get caught up in trying to achieve every tiny detail at this stage. 34 . Instead.

go back to the ZSketch sub palette and click the 'Optimize' button to clear out all of the unnecessary ZSpheres.ZBrush 3. including the base. 35 . ZBrush has automatically created a polygroup for every one of the individual ZSketch strokes. Go to the 'Polygroups' palette and select 'Group Visible' to combine all of the groups into one. Now. Use the 'PushPull' brush to help achieve the same shape as the armature edge that already runs around the bottom edge of the model. make sure you fill in all of the remaining holes.5 Tutorials As we near the completion of the anatomy ZSketch. Once again. turn on the 'PolyF' button to view the current polygroups. Finally.

shown here with the 'SketchShaded2' material. 36 . Here are the values that I used for my quick flesh and bones colors.ZBrush 3.5 Tutorials We now have ZSketched facial anatomy! Have some fun assigning some different colors and materials to the subtools in order see what kind of cool images you can come up with.

5 Tutorials Once again.ZBrush 3. make sure that you save out your ZTool with a new file name! 37 .

once again. This time around. Feel free to continue tweaking the Unified Skin settings until you are satisfied with your results. we are going to use a higher resolution setting than we did for the skull in order to retain even more of the detail that we have worked so hard to achieve in the ZSketch. be created and automatically stored (not saved) up in the 'Tool' palette. to convert our ZSketch into a Unified Skin for sculpting! Go to the 'Unified Skin' palette.ZBrush 3. select the 'Make Unified Skin' button. When you are ready.5 Tutorials Now we are ready. 38 . once more. The new mesh will. Set the 'Resolution' to 512 and then go ahead and click the 'Preview' button. Go to the 'SubTool' palette and append it into your current ZTool.

Finally.ZBrush 3.5 Tutorials The new mesh will load in already positioned and sized correctly. 39 . hit 'x' on your keyboard in order to turn on symmetry in the x axis. Select the new mesh in the 'SubTool' palette and then hide the original ZSketched anatomy. directly on top of the skull.

ZBrush 3.5 Tutorials With so much of the work already accomplished with ZSketch. 40 . WAY too much fun! Once again. I used the 'mPolish' brush to smooth together and shape up the larger surface areas. sculpting the facial anatomy is really more just a refining process and. not to mention.

etc. Spend some extra time adding detail to the areas that we were not able to able to push quite as far while using ZSketch. nose. Be sure to cover every angle of your sculpt.ZBrush 3. as well as smoothing out the base.5 Tutorials I also used a lot of the 'ClayTubes' brush in order to enhance the detail of areas like the ears. including the muscles in the back. 41 .

ZBrush 3.5 Tutorials Keep on sculpting until you have a completed sculpt of the facial anatomy! 42 .

43 . THE FLEsH EXTERiOR In this final section. Go to the 'SubTool' palette and append in a new ZSphere. make sure that you save out your ZTool with a new file name! 4.ZBrush 3. including the visible areas of the skull into a single mesh for sculpting the flesh exterior of the head. we will quickly fill in a bit of volume for the cheeks of our model and convert everything.5 Tutorials Once again.

Select the new ZSphere in the 'SubTool' palette and hit 'x' on your keyboard in order to turn on symmetry in the x axis.ZBrush 3. directly in the center of the head. 44 .5 Tutorials Once again. the new ZSphere will load in at its default size.

hit 'q' on your keyboard to switch back into «draw» mode.ZBrush 3. I ended up placing it beneath the base of my sculpt. Once you have positioned the ZSphere. simply hit 'Shift+A' on your keyboard. Or.5 Tutorials Use the 'Move' and 'Scale' tools to position the new ZSphere somewhere out of the way. Go to the 'ZSketch' sub palette and toggle on the 'EditSketch' button. 45 .

In addition. check around for other areas that could use a bit of filler.ZBrush 3. I added a bit behind the backs of the ears. using either the 'Sketch 1' or 'Sketch 2' brush. 46 . begin filling in some volume for the cheeks.5 Tutorials Now.

combined mesh will automatically be appended in as a subtool. Now. Now we are ready to combine our skull. Set the 'Res' slider to 512 and turn off the 'PolyGrp' button. 47 . Near the bottom of the 'SubTool' palette you will find a button called ReMesh All' with a few settings next to it.5 Tutorials Convert the volume filler ZSketch into a Unified Skin. The default settings will work just fine for what we need. anatomy sculpt and volume fillers all into one final mesh in order to sculpt the surface of the head. Go to the 'SubTool' palette and append the new mesh back into your current ZTool.ZBrush 3. aside from the three mentioned above. The new mesh will be created and automatically stored (not saved) up in the 'Tool' palette. The new. Go to the 'SubTool' palette and hide all the subtools. go ahead and click 'ReMesh All'.

also located at the bottom of the 'SubTool' palette. This detail can easily be recovered using the 'ProjectAll' button. anatomy sculpt and volume fillers are all currently visible. Click the 'ProjectAll' button.ZBrush 3. making sure that the skull.5 Tutorials You might notice that the new mesh has not quite retained the same amount of the detail as the original subtools. ZBrush will go through the process of projecting the detail from the three original subtools onto the surface of the new mesh. 48 . Select the new mesh.

ZBrush 3. Finally. anatomy sculpt and volume filler subtools. We now have the exterior surface of a head that can sculpted and refined to your heart's content! 49 . you can go in and hide the original skull.5 Tutorials When the process is complete. In addition. hit 'x' on your keyboard in order to turn on symmetry in the x axis. set the eyeballs to be visible once again. with the new mesh selected.

ZBrush 3. make sure that you save out your ZTool with a new file name! 50 .5 Tutorials Once again.

LisT Of FiLEs AND REfERENCEs The ZBrush ZTools necessary for this tutorial are available for download at the following URL: http://www.ZBrush 3.5 Tutorials Here is my final sculpt of the the head.ztl Helpful Reference: • Sketching with ZSpheres Basics http://www.ztl Ty_Skull_Sculpt.pixologic.ztl Ty_FacialAnatomy_Sculpt.com/zclassroom/downloads/ Tutorial ZBrush files: • • • • Ty_Skull_ZSketch.com/zclassroom/homeroom/ • Anatomy for the Artist by Sarah Simblet .ztl Ty_FacialAnatomy_ZSketch. 5.pixologic.ISBN-13: 978-0789480453 51 .ISBN-10: 078948045X .

ZBrush 3.5 Tutorials

6. ABOUT TY SHELTON
Ty Shelton grew up skiing and rock climbing in the mountains of Colorado. His passion for art, film and games led him to study computer animation at Full Sail University. It was there that he found his true passion for sculpting. Shortly after graduation, in 2007, he began working as a Character Artist for Electronic Arts (EA Tiburon) where he was quickly selected as one of the primary ZBrush artists, sculpting and texturing the likenesses of NFL coaches and players for Head Coach and Madden, as well as creating visual targets for the fighters in EA’s new Mixed Martial Arts title. Presently, Ty is working for Vicious Cycle Software, Inc. in Morrisville, North Carolina as a Character/Creature Artist on their new next gen game title, as well as a beta team member for Pixologic’s ZBrush. “Through out my very short time in the industry thus far, I have been extremely fortunate to meet and work with some of the best artists in the business. I can not begin to express enough appreciation for everything that I have, and continue to learn from these extraordinary people.” Website information: http://www.tyshelton.com Email: ty@tyshelton.com

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ZBrush 3.5 Tutorials

FLYING STINGY THING BY JOSEPH DRUST

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ZBrush 3.5 Tutorials

1. INTRODUCTiON
During our childhood, my younger brother invented the name Dreaded Flying Stingy Thing (Flyingus Stingus Dreadeus) for any flying insect with a stinger.  These creatures simultaneously captured our imaginations and struck terror in our souls.  To this day, from a safe distance, the Flyingus Stingus Dreadeus piques my interest and provides inspiration for my work.  This depiction of the Flying Stingy Thing is an fierce insect fortified with microscopic armor. The release of ZBrush 3.5 adds many new features that greatly improve the speed and usability of ZBrush. These new features allow the artist to take an idea from concept to final model inside ZBrush without using any third-party programs. The following is an example of one of these pipelines.

2. QUiCK INTERfACE BREAKDOWN
To start off here is a quick breakdown of the interface that is broken into a few key components. For each action that is used in this tutorial a simple breakdown of the function will be listed. This breakdown works as follows: Palette:Tab/ SubPalette:Action Item.  The following example would be «With the mesh selected use Auto Groups (Tool:Polygroups:Auto Groups)» To use 'Auto Groups' the user would open the Tool Palette, go to and open the Polygoups Tab/SubPalette, and then press the 'Auto Groups' button.

More information on the interface can be found in the Pixologic ZClassroom Homeroom: http://www.pixologic.com/ zclassroom/homeroom/  

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ZBrush 3.5 such as QuickSketchSetup and updated ZSphere technology conceptual practices can be done almost instantly to create a visual representation of a design that can be viewed not only in 2D but also 3D. With functions in ZBrush 3. To start off start up ZBrush and click the 'QuickSketchSetup' button.5 Tutorials 3. QUiCKSKETCHSETUP TO ZSPHERE ARMATURE [ Corresponding *. For the model of the 'Flying Stingy Thing' the basic idea is that it will look and function like a wasp. and Symmetry (Transform:Activate Symmetry) will be turned on.ztl file labeled '01_flyingstingything_quicksketch. The canvas will be transformed into a blank off white color and the brush 'Pen Shadow' (Brush:Pen Shadow) will be selected.  Continue sketching until you end up with something that creates a rough idea of the creature.ztl' ] The ability to take an idea from concept to a final model is extremely powerful. 55 . A quick sketch on the canvas can help flush on these details a little more.

56 .5 Tutorials With the Sketch being finished rather quickly the concept can now further be developed by creating a ZSphere Armature based off of the QuickSketch. When the 'QuickSketchSetup' button was pressed it generated a Plane3D object that has been scaled to the canvas.ZBrush 3. select the ZSphere' icon.  'Append' a ZSphere to the tool (Tool:SubTool:Append) After hitting the 'Append' button the tool window will open up.

Scale the ZSphere until it matches the QuickSketch a little better.' Change the render mode back to 'Preview' (Render:Preview) The MatCap that is loaded should be 'SkinShade4. Load 'MatCap Red Wax' (Material:MatCap Red Wax.5 Tutorials The ZSphere should now show up in the SubTool menu (Tool:SubTool) and appear on the canvas. When the 'QuickSketchSetup' button was pressed it changed the render mode to 'Flat.' Change it to a MatCap that will allow for better visibilty during ZSphere creation. The MatCap menu can also be found above the color picker on the left hand side of the screen) 57 . Select 'Scale' from the tool bar on the top left corner of the screen.ZBrush 3. Select the ZSphere in the SubTool menu so it becomes the active subtool.

After drawing a new ZSphere use 'Move' from the tool bar on the top left of the screen to move it to a specific location 58 . finally change the 'Primary Color' in the color picker to 'White.' Next turn on 'Draw' from the tool bar on the top left the screen.ZBrush 3. Using 'Draw' create new ZSpheres from the Center ZSphere on the canvas.5 Tutorials With the MatCap changed to 'MatCap Red Wax'.

ZBrush 3. Using 'Draw'. 'Move'.5 Tutorials By clicking on a ZSphere and using 'Scale' from the tool bar the ZSpheres can easily be scaled. and 'Scale' continue creating ZSpheres until a decent main body is created for the Flying Stingy Thing. 59 .

In the SubTool menu (Tool:SubTool) click the 'Eye' icon located on the PM3D_Plane3D_1 subtool. With the QuickSketch now hidden rotate the ZSpheres to view the side of the model. The 'Eye' icon should turn off and the QuickSketch plane should disappear. 60 .ZBrush 3.5 Tutorials With the ZSpheres created the QuickSketch is no longer needed.

During this phase try to think of the ZSpheres creating a wire Armature for a clay model. legs.5 Tutorials Using 'Move' and 'Scale' edit the ZSpheres until you end up with a Wasp like design. When creating the wings try to think of ribs and spars that are used in airplane construction. 'Move'. 61 . Keeping the ZSpheres relatively skinny will help later in ZSketch creation. Using 'Draw'. and 'Scale' continue adding ZSpheres to bring out shapes such as antenna.ZBrush 3. and wings.

ZBrush 3.5 Tutorials One technique to speed up the creation process of ZSpheres is to 'Draw' one ZSphere and 'Move' it to the extent of the extremity. 62 . Once these middle ZSpheres are created use 'Move' and 'Scale' to position them accordingly. Once you are completed you should end up with something that resembles a wire armature. Once it is there go back in using 'Draw' to create middle ZSpheres.

ztl file labeled '02_flyingstingything_zsphere. Fill the object with the 'MatCap Metal04' (Color:FillObject) 63 . Select the 'MatCap Meta04' (Material:MatCap Metal04) Turn 'M' to 'On' from the tool bar at the top left of the canvas.ztl' ] With the ZSphere armature created it is time to bring more form into the Flying Stingy Thing. (Tool:Save As) 4.  To start off lets give the ZSphere Armature a more metallic feel.5 Tutorials Save recently? Now is a good time. ZSketch mode is similar to the technique used in traditional sculpting of covering a wire armature with clay to bring out form. ZSKETCHiNG ON THE ZSPHERE ARMATURE [ Corresponding *. With ZBrush 3.ZBrush 3.5 comes the addition of ZSketch mode.

Activate sketch mode (Tool:ZSketch:EditSketch) 64 .5 Tutorials With the ZSphere Armature now filled with 'MatCap Metal04' switch back to 'MatCap Gray' (Material:MatCap Gray) It is now time to cover the model with ZSketch Clay.ZBrush 3.

'Smooth' process until the entire ZSphere Armature is coverd with ZSketch Clay.   Start sculpting to cover the ZSphere Armature with ZSketch Clay. Once a 'Sketch 1' stroke is created smooth it out (by holding SHIFT and stroking.ZBrush 3.5 Tutorials Make sure brush 'Sketch 1' is selected (Brush:Sketch 1) The 'Sketch 1' brush should be selected by default.) Once the shape is roughly established click 'Optimize' (Tool:ZSketch:Optimize) to remove any unneeded ZSketch shapes. 65 .) Repeat this 'Sketch 1'. At the early stages of ZSketching try to just build up shape quickly (more precise ZSketch strokes will follow later.

After the underlayer of ZSketch is completed cover it up with more precise ZSketch strokes. etc. visible muscle structure.ZBrush 3. These top strokes will help establish the sculpting details you want to preserve/describe (armor plating.) 66 .. For thin ZSphere Armature areas draw a ZSketch stroke to trace the Armature. 'Smooth' it out then repeat until you achieve the desired thickness.5 Tutorials The ZSphere Armature with base covering of ZSketch Clay. bones.

Continue this process until the main structure of the wings is fleshed out.5 Tutorials For areas like the wings use the rib and spar technique.ZBrush 3. Optimize one more time (Tool:ZSketch:Optimize) 67 . Finally fill in the rest of the wing with more 'Sketch 1' ribs until the wing is a solid mass. Using 'Sketch 1' draw a spar stroke from rib to rib then 'Smooth'.

ZBrush 3. Save recently? Now is a good time.ztl' ] 68 .ztl file labeled '03_flyingstingything_zsketch. (Tool:Save As) 5.5 Tutorials Once all the ZSphere Armature is covered it should look something like this. ZSKETCH TO UNifiED SKiN [ Corresponding *.

A higher value will generate a mesh that closely resembles the origional ZSketch. The updated Skinning allows for an entirely new level of control.) Turn 'M' to 'On' from the tool bar at the top left of the canvas. Setting this to a higher value (SDiv 2) will often give a better level 1 SDiv mesh then just setting it to SDiv 1.   SDiv (Tool:Unified Skin:SDiv) will set how many subdivisions the final Unified Skin will have. For this model the Resolution was set to '400' 69 . By using Preview (Tool:Unified Skin:Preview) or just simply pressing 'A' on the keyboard ZBrush will generate an example of what the final 'Unified Skin' mesh will look like. Select the MatCap labeled 'Flat Color' (Material:Flat Color. With this control the user can determine if he wants to keep the exact details from the ZSketch or generate a lower resolution mesh to build on from the ground up.ZBrush 3. Fill the object with the 'Flat Color' (Color:FillObject. it is time to turn it into a 'Unified Skin' so it can be sculpted on.) After the model has been filled with 'Flat Color' select 'MatCap Gray' again (Material:MatCap Gray) Next with the ZSketch model completed and removed of all baked in materials.5 has been entirely revamped. With the ZSketch completed clear the ZSphere Armature wire color since it is no longer needed as a visual aid. For this model the SDiv was set to '2' Resolution (Tool:Unified Skin: Resolution) will determine how many polygons/triangles will be used to create the mesh.5 Tutorials Unified Skin in ZBrush 3. Filling a model with material 'Flat Color' will remove any MatCaps that were baked in.   Before actually creating a final Unified Skin to sculpt the user can preview some of the settings.

For this model the Sdns was set to '50' After changing the settings and previewing the Unified Skin.5 Tutorials Sdns (Tool:Unified Skin:Sdns) determines the smoothing value between ZSketch strokes. go to the Unified Skin Sub Palette and 'Make Unified Skin' (Tool:Unified Skin:Make Unified Skin) The model should process then create a Unified Skin mesh labeled something like 'Skin_ZSphere' Select the new Skin_ZSketch tool (Tool:Skin_Zsketch) 70 .ZBrush 3. The Lower the value the more individual ZSphere ZSketch strokes will be visible.

ZBrush 3.  These Polygroups are not really usefull this way so they need to be cleaned. Use Group Visible (Tool:Polygroups:Group Visible) to get rid of the rainbow and create one Polygroup. The mesh with one Polygroup should appear like this 71 . The mesh should contain a rainbow of Polygroups.5 Tutorials Turn on 'Polyframe' button located on the right hand side of the canvas.

5 Tutorials With PolyFrame Off Save recently? Now is a good time. (Tool:Save As) 72 .ZBrush 3.

SiMPLE FORM SCULPTiNG [ Corresponding *. This pass will help clarify the base shape and form of the model and help work out some of the conceptual elements. the Flying Stingy Thing is now ready for the first sculpting pass.ZBrush 3. To fix this remove the higher res subdivisions. Slide the 'SDiv' slider to '1' (Tool:Geometry:SDiv 1) Next Delete the Higher Subdivisions (Tool:Geomety:Del Higher) The mesh on the lowest SDiv level 73 .5 Tutorials 6.ztl' ] With the Unified Skin.ztl file labeled '04_flyingstingything_unifiedskin. With the settings used to create the Unified Mesh there is a little too much tessellation. With the Unified Mesh created simple form sculpting can begin.

The mesh should now be symmetrical and should consist of one single Polygroup. Use 'Mirror and Weld' (Tool:Geometry:Mirror and Weld) to quickly make the mesh symmetrical again.5 Tutorials Occasionally during ZSketching Symmetry may become unsymmetrical.ZBrush 3. 74 .

5 Tutorials Now it is time to add some simple form sculpting. This sculpting pass is to help establish some of the larger forms and smooth out some of the ZSketch elements that are strongly visible. 75 .ZBrush 3. Select the 'ClayTubes' brush (Brush:ClayTubes) Using the 'ClayTubes' brush sculpt on the model to flush out some of the larger shapes and forms.

) With 'Smooth Stronger' selected smooth out the visible ribs on the wings Continue using the 'ClayTubes' brush and 'Smooth' to flesh out the larger forms on the model. To fix this turn on 'BackfaceMask' (Brush:Auto Masking:BackfaceMask) 76 .ZBrush 3.) ZBrush allows for one smooth and one sculpting brush to be selected at a time. To change back to the normal smoothing brush simply reselect the 'Smooth' brush from the brush menu (Brush:Smooth.5 Tutorials To achieve a stronger smoothing option (Hold SHIFT to smooth) select the 'Smooth Stronger' brush (Brush:Smooth Stronger. 'Smooth Stronger' will now be the default smoothing brush until you restart. When sculpting on thin geometry back faces of the mesh sometimes will be affected giving undesired results.

boney areas.5 Tutorials With 'BackfaceMask' 'On' areas such as the legs can now easily be sculpted on.ZBrush 3. Continue sculpting until you have some large details such as armor. and wrinkled skin flushed out. 77 .

(Tool:Save As) 78 .ZBrush 3.5 Tutorials Save recently? Now is a good time.

5 Tutorials 7.5 now has the ability to create Polygroups from Polypainting.  To do this first Divide the mesh (Tool:Geometry:Divide) 79 . and to establish a base for hard surface sculpting.ztl file labeled '05_flyingstingything_simpleform.ztl' ] ZBrush 3. This ability allows for the quick painting of areas to further flush out a design. UsiNG POLYPAiNTiNG TO EsTABLisH POLYGROUPs [ Corresponding *. With the mesh having a good first pass of sculpting applied.ZBrush 3. it's time to setup some groups to help with the hard surface areas.

The mesh should appear smoother but still have the majority of the large details that were sculpted in. Select the layer brush (Brush:Layer) Change the 'Primary Color' to a 'Yellow.5 Tutorials Divide the mesh until you have a total of 3 SDivs. 80 .' Set 'Rgb' to 'On' from the tool bar at the upper left of the screen.ZBrush 3. With the subdivisions increased there is now enough tessellation to generate clean lines through polypainting.

Paint with Yellow where possible armor plating may exist.ZBrush 3.5 Tutorials Set 'Zadd' to 'Off'. 81 . Make sure that areas where two colors meet completely overlap and don't contain a third color value in between. Change colors and continue to break up the model into different painted sections. Start painting areas that would contain different elements on the model.

ZBrush 3.5 Tutorials Continue painting the model. break up areas of the legs in sections of colors where joints would exist. 82 . This breakup will help establish these areas quickly when sculpting later. Finished with everything but the wings.

With the newly grabbed alpha selected change the Intensity to '1' (Alpha:Intensity '1') 83 . Next GrabDoc Alpha (Alpha:GrabDoc) to create an Alpha image of the wing. With this wing facing the camera plane store a 'Marker' (Marker:M+)  This 'Marker' creates a reference point on the canvas alowing the user to redraw the exact same position of the model.ZBrush 3. This method may seem extreamly complicated at first but it is quite easy and fast. First rotate the model so that one of the wings faces the camera plane.5 Tutorials For the wings there is a simple stencil trick that can be used.

With the wing alpha on the screen switch to 'Move' mode from the top tool bar.) Set the 'Rgb Intensity' to '100' on the top tool bar. Change the stoke for the 'SimpleBrush' to 'DragRect' (Stroke:DragRect.ZBrush 3.  Click the gizmo and move the wing alpha till it is roughly in the middle. Once 'Move' is selected a visible gizmo should appear on the screen.5 Tutorials Next select the SimpleBrush (Tool:SimpleBrush) With the 'SimpleBrush' selected switch to 'Draw' mode from the upper left tool bar. 84 .' Draw the Wing Alpha on the screen till it fills the canvas roughly width wise. Finally make sure 'Zadd' is 'On' and 'Z Intensity' is set to '100.

ZBrush 3. (Alpha:GrabDoc) 85 .5 Tutorials After the wing alpha has been moved switch back to 'Draw' mode. Select the 'EraserBrush' (Tool:EraserBrush) With the 'EraserBrush' selected erase the parts of the wing alpha that are not wing. After the borders have been cleaned up erase out the veins that would appear on the wing of the Flying Stingy Thing. After all the parts have been erased 'GrabDoc' to Alpha again.

5 Tutorials Clear the canvas (CTRL+N) and switch back to the working model of the Flying Stingy Thing. The 'Marker' may sometimes be difficult to find. With the creature selected find the 'Marker' on the canvas.ZBrush 3. setting 'Draw Size' to a large value move the pointer across the canvas until a visible object like this is found. After the object is found single click on it and the mesh should appear back to it's original location and size where the 'Marker' was stored at. With the object returned to it's exact position select the modifed wing alpha (the one with the veins cut in) from the alpha menu (Alpha:) 86 .

87 .ZBrush 3.) After pressing the button the Modified Wing Alpha should appear on the canvas.5 Tutorials With the modified Wing Alpha selected hit 'Make St' (Alpha:Make St.

) 88 .5 Tutorials Go to the Stencil Palette and turn on 'Stretch' (Stencil:Stretch) Next inverse the Stencil (Stencil:Invr) The Stencil should now be stretched to fix the canvas but may not fully be in the location of the wing.ZBrush 3. A gizmo should appear Mousing over the different sections of the Stencil gizmo and click + draging will transform the stencil. To fix this hold SPACEBAR while floating the mouse over the stencil.  (Keep the stencil a little from the very top of the wing so a border can be created. Use the 'MOV' and 'SCL' options until the Stencil lines up to the wing.

5 Tutorials With the Stencil now lined up select the 'Layer' brush (Brush:Layer) Make sure 'Rgb' is 'On' and 'Rgb Intensity' is '100' from the top tool bar. As the stroke is drawn it should be masked out by the stencil only allowing for the correct areas of the wing to be painted.ZBrush 3. Set 'Zadd' to 'Off' Change the 'Primary Color' to 'Red' Next draw on the canvas. 89 .

5 Tutorials Once this is complete turn 'Stencil' to 'Off' (Stencil:Stencil On) The Stencil should disappear. Paint those areas in.  Position the model to check for any holes in the paint that the stencil might have missed. 90 .ZBrush 3.

ZBrush 3.5 Tutorials After painting out any holes it will appear that only one of the wings was stenciled correctly. hit the 'Del Lower' button (Tool:Geometry:Del Lower) 91 . (Tool:Geometry:SDiv)  Then hit 'Del Higher' (Tool:Geometry:Del Higher) With the model being on SDiv 2. To quickly fix this first switch the model to SDiv 2.

5 Tutorials The model should now be locked into the middle SDiv.ZBrush 3. After this is completed do a 'Mirror and Weld' (Tool:Geometry:Mirror and Weld) After the 'Mirror and Weld' completes notice that both wings now contain vein painting 92 .

ztl file labeled '06_flyingstingything_polypainting.ztl' ] 93 . (Tool:Save As) 8. POLYGROUPiNG AND GROUPLOOPs [ Corresponding *.ZBrush 3.5 Tutorials The final painted areas should look like this Save recently? Now is a good time.

Turning on Polyframe The model still should only consists of one Polygroup.ZBrush 3. 94 . To do this hit 'From Polypaint' (Tool:Polygroup:From Polypaint) After 'From Polypaint' is applied the Polygoups of the model should match the Polypainting.5 Tutorials Grouploops have the ability to create loops around every Polygroup. These grouploops can then be masked by brush stroke to generate a variety of quick effects. The base color separation that has been quickly painted on the model will be used as a base for these Grouploops. The painting that was just completed is going to be used for creating new Polygroups.

95 . GroupLoops will generate and smooth each of these polygroups allowing for a cleaner sculpting mesh.5 Tutorials With these groups established use the 'GroupLoops' feature (Tool:Geometry:GroupLoops) The default settings for GroupLoops usually gives ideal results.ZBrush 3.

select 'Polypaint From Polygroup' (Tool:Polypaint:Polypaint From Polygroup) The colorized version of the model should be updated and should now look like this. 96 .ZBrush 3. To see this a more clearly.5 Tutorials After 'GroupLoops' competes the model should now have loops generated between each of the Polygroups.

5 Tutorials With these new Polygroups established Auto masking by Polygroups can now be used.ZBrush 3. Set 'Mask By Polygroups' to '100' (Brush:Auto Masking:Mask By Polygroups) Switch to the 'Layer' brush (Brush:Layer) 97 .

Sculpt on the model around all the painting breakups that were created.5 Tutorials Turn 'Zadd' 'On' and set 'Z Intensity' to '25' Make sure 'Rgb' is 'Off' With these settings sculpt on the model. The Layer brush strokes should stay bounded to the Polygroup the sculpting stroke started from. 98 .ZBrush 3. Sculpt the upper areas of the leg joints to quickly create segmented looking areas.

5 Tutorials Sculpt on the veins of the wings to bring them to the surface. 99 .ZBrush 3. Continue sculpting around all the armor plated areas to create a visible seam between the metal surfaces and the fleshy ones.

ZBrush 3.5 Tutorials Save recently? Now is a good time. (Tool:Save As) 100 .

ztl file labeled '07_flyingstingything_grouploop. Lightbox can be used to store various elements that are ocassionally used to free up the default interface from becoming too cluttered. This sculpting will be used as the basis for the polish pass. To turn masking by polygroups off simply set 'Mask By Polygroup' to '0' (Brush:Auto Masking:Mask By Polygroups)  This section will mostly cover different techniques used during the secondary sculpting pass. Select the 'ClayTubes' brush (Brush:ClayTubes) Then select 'SmoothPeaks' from Lightbox (Light Box Button:Brush:SmoothPeaks) Lightbox is a new addition to ZBrush 3. 101 .5 Tutorials 9. Since the armor pieces have been fairly defined.ZBrush 3.5.ztl ] With the majority of the larger elements flushed out a secondary sculpting pass can not start. ADDiNG MORE DETAiL (SECONDARY SCULPTiNG PAss) Corresponding *. masking by polygroups can be turned off. This pass will be used to further establish the armor elements on the Flying Stingy Thing.

Using 'Claytubes' and 'SmoothPeaks' back and forth generates a nice bone surface. Keep sculpting and smoothing to bring out these details Next switch to the 'FormBrush' (Brush:FormBrush) The 'FormBrush' creates a nice soft surface displacement that works well for creating visible surface muscles. 102 . or indents for fleshy areas.ZBrush 3.5 Tutorials The 'SmoothPeaks' smoothing brush will only smooth out the peaks of the surface.

ZBrush 3. 103 .5 Tutorials Keep using 'FormBrush' and 'ClayTubes' with 'SmoothPeaks' to flesh out some more of the details on the model.

When pleased with the results Texture 'GrabDoc' the canvas (Texture:GrabDoc) 104 .ZBrush 3.' Click the 'QuickSketchSetup' button. Once the canvas is cleared draw out some designs that could create some interesting surface variation.5 Tutorials Another method for adding added detail is creating quick alphas with 'QuickSketchSetup.

ZBrush 3.5 Tutorials After creating the Texture convert it to an Alpha (Texture:MakeAlpha) Clear the canvas (CTRL+N) and switch back to the working model of the Flying Stingy Thing. 105 . The mesh should appear white.

5 Tutorials Set the render settings back to 'Preview' (Render:Preview) Set the Primary Color to 'White' Switch the MatCap to 'MatCap Gray' (Material:MatCap Gray) 106 .ZBrush 3.

Select the 'Standard' brush (Brush:Standard) Change the stroke to 'DragRect' (Stroke:DragRect) Select the Alpha that was created (Alpha:) With the alpha loaded on the 'Standard' brush drag across the model.ZBrush 3. 107 .5 Tutorials Now to apply the alpha that was just created.

ZBrush 3. 108 .5 Tutorials The alpha can help create interesting detail where there was none to begin with.

109 .5 Tutorials Some other custom brushes have been included with this tutorial. however sculpting in a spiral motion creates an unique effect that can help add randomized variation. Keep sculpting until you have a nice secondary sculpt across the entire model. The Jdrust_SpiralPores brush can be used to create fleshy pores.  Using the brush with a normal stroke will give an uninteresting result.ZBrush 3.

ZBrush 3. (Tool:Save As) 110 .5 Tutorials Save recently? Now is a good time.

To start off select the 'hPolish' brush (Tool:hPolish) The 'hPolish' brush is extremely powerful. The brush works the best at this size.ztl' ] A new feature in the ZBrush 3.ztl file labeled '08_flyingstingything_secsculpt. it's a brush that is a little difficult to pickup at the start but once one does it will live forever in the Quick Pick Brush Palette. POLisHiNG Corresponding *. 111 . Polish brushes allow for the quick creation of various hard surface elements.ZBrush 3.5 tool set is Polish. The first of note is to sculpt with a large Draw Size. When combined with GroupLoops and Masking by Polygroup complex shapes can be generated in a matter of minutes instead of hours.   There are a few tricks that are useful in gaining it's control.5 Tutorials 10.

Smooth (hold SHIFT) the area to even the topology then follow back up with 'hPolish.' 112 .) This will switch to a positive polish mode.5 Tutorials While sculpting with 'hPolish' use the alt function (hold ALT. Use smoothing. using the alt function + a small draw size can be used to pull up areas that are creating divots in the surface.ZBrush 3.

113 . this will allow for certain areas to be polished and not effect the surrounding areas.ZBrush 3. Using 'Mask By Polygroups' (Brush:Mask By Polygroups) also works well.5 Tutorials Use the Polygroups that were setup to hide areas of the model.

ZBrush 3.5 Tutorials

If an extremely  large divot appears uses 'ClayTubes' to bring the surface back out, then follow up with 'hPolish'

Continuing using 'hPolish', 'ClayTubes', and 'Smooth' until you get something like this

114

ZBrush 3.5 Tutorials

During the design process sometimes areas on a mesh need to be changed or adjusted quite a bit. Even with all the polishing done to the surface it can still be easily edited. Select 'ClayTubes' (Brush:ClayTubes)

Find an area of the mesh that has no detail and start sculpting some in.

115

ZBrush 3.5 Tutorials

Continue sculpting until you get a nice mound.

Switch to 'hPolish' (Brush:hPolish)

116

ZBrush 3.5 Tutorials Use 'hPolish' on the top of the mound to flatten it out. then follow up with 'Smooth.' 117 . Continue using 'hPolish' on the edges.

Select the 'Move' brush (Brush:Move) With the area masked out use the 'Move' brush and move pull the section of the mesh over the top of the masked section.ZBrush 3.5 Tutorials Next mask out a quick area to make some quick overlapping geometry. Switch back to 'hPolish' (Brush:hPolish) 118 .

Save recently? Now is a good time.ZBrush 3. The finished result. (Tool:Save As) 119 .5 Tutorials Use 'hPolish' to smooth out the areas that the 'Move' distorted.

ZBrush 3. 120 .ztl' ] With the usage of Polygroup masking completed and the need for increased tessellation getting closer. BREAKiNG UP THE MEsH iNTO SUBTOOLs [ Corresponding *. it's time to break the Flying Stingy Thing mesh up into multiple SubTools. There are many different methods of creating Polygroups for a mesh.ztl file labeled '09_flyingstingything_polish. this one will quickly cover the use of Visibility and Masking.5 Tutorials 11.

Switch to the lowest SDiv level (Tool:Geometry:SDiv) 121 .5 Tutorials Group the mesh to one Polygroup by using 'Group Visible' (Tool:Polygroups:Group Visible) The mesh should now consist of one Polygroup.ZBrush 3.

5 Tutorials Mask out the wings (hold CTRL then stroke.) When both wings are masked hit 'HidePt' (Tool:Visibility:HidePt) With the wing being the only thing visible on the canvas.) 122 .ZBrush 3. hit 'Group Visible' (Tool:Polygroups:Group Visible) Unhide all of the mesh (Hold CTRL + SHIFT and click a blank space on the canvas.) Mask out the armor parts (hold CTRL then stroke.

) 123 .5 Tutorials When armor is masked hit 'HidePt' (Tool:Visibility:HidePt) With the armor being the only thing visible on the canvas.ZBrush 3. hit 'Group Visible' (Tool:Polygroups:Group Visible) Unhide all of the mesh (Hold CTRL + SHIFT and click a blank space on the canvas.

this should hide the wings and make the rest of the mesh visible on the canvas. 124 . This should make only the wings visible on the canvas.5 Tutorials Next hide the rest of the mesh.ZBrush 3. first hold CTRL + SHIFT and click on the wings. Hold CTRL + SHIFT and click on the wings again.

5 Tutorials Hold CTRL + SHIFT and click on the armor.ZBrush 3. With the fleshy parts being the only thing visible on the canvas. hit 'Group Visible' (Tool:Polygroups:Group Visible) 125 . The armor should hide and only the fleshy parts should be visible.

)  With Polyframe on the mesh should have three Polygroups. To better see this result do 'Polypaint From Polygroup' (Tool:Polypaint:Polypaint From Polygroup) The mesh should consist of three colors 126 .5 Tutorials Unhide all of the mesh (Hold CTRL + SHIFT and click a blank space on the canvas.ZBrush 3.

127 . Use 'Groups Split' (Tool:SubTool:Groups Split) to break the mesh up into three individual SubTools.ZBrush 3.5 Tutorials With the mesh now being broken up into three Polygroups it can now be split into SubTools.

Save recently? Now is a good time.5 Tutorials This warning will appear.ZBrush 3. if you have not saved it is recommended that you save before clicking ok. (Tool:Save As) 128 . Click 'OK' The mesh should now be broken down into three individual SubTools.

ztl file labeled '10_flyingstingything_groupsplit.ztl' ] Now that the mesh is broken up into three SubTools detailing can continue. The Addition of noise and various brush attributes have increased the efficiency of creating detail on a mesh. 129 . Some brushes have dual purposes like the 'Pen Shadow'. This brush is not only the primary brush for 'QuickSketchSetup' but also can be used to create wrinkles and scratches. FiNAL DETAiLiNG PART 1 [ Corresponding *.5 Tutorials 12.ZBrush 3.

130 .5 Tutorials With the mesh now broken down into 3 SubTools select the 'Pen Shadow'  brush (Brush:Pen Shadow) Turn 'Rgb' to 'Off' from the top tool bar Turn 'Zadd' to 'On' Change the Draw Size to something large and sculpt on the model.ZBrush 3.

131 .5 Tutorials 'Pen Shadow' with a large draw size can be used to create wrinkle folds.  Changing it to a small draw size will create tiny scratches.ZBrush 3.

Alpha usage is another method to create quick variation on the surface.5 Tutorials Sculpting with 'Pen Shadow' in a jagged random stroke can be used to create skin tearing and other anomalies. Select the 'Standard' brush (Brush:Standard) Change the stroke to 'DragRect' (Stroke:DragRect') Then select an Alpha to use.pixologic.ZBrush 3.com/ zbrush/downloadcenter/alpha/ 132 . The Alphas included with this tutorial were downloaded from the Pixologic Alpha Library: http://www.

5 Tutorials With the Alpha loaded on the 'Standard' brush drag across the surface of the model.ZBrush 3. 133 . Using a combination of 'Pen Shadow' and the 'Standard' brush with Alphas create surface details on the model.

Select the 'ClayTubes' brush (Brush:Claytubes) Use 'ClayTubes' and build up the area where the eyes of the Flying Stingy Thing would exist.ZBrush 3.5 Tutorials The final body of the model sculpted using the above methods With the body being completed detail wise the eyes are the next part to create. 134 .

com/ zbrush/downloadcenter/alpha/ 135 .ZBrush 3.) Move the eye geometry to give a bulbous feel. Select the 'Standard' Brush (Brush:Standard) Change the stroke to 'DragRect' (Stroke:DragRect) Select an alpha that would create some interesting eye geometry (Alpha:) The Alphas included with this tutorial were downloaded from the Pixologic Alpha Library: http://www.pixologic.5 Tutorials Once a good size is established select the the 'Move' brush (Brush:Move.

This pixelation is caused by the geometry in the area round the eye being stretched to thin.ZBrush 3. This issue can be fixed quite easily with the use of 'Reproject Higher Subdiv.' First switch to the lowest Sdiv (Tool:Geometry:SDiv) 136 .5 Tutorials Sculpt on the eyes of the model. the result should appear quite pixolated.

Using the 'Smooth' (hold SHIFT) smooth the area of the eye out until the typology starts to even back out. After the area is smoothed 'Reproject Higher Subdiv' (Tool:Geometry:Reproject Higher Subdiv) 137 .5 Tutorials If Polyframe is turned on the mesh geometry should appear like this.ZBrush 3.

pixologic.ZBrush 3. the effect should not look as pixolated.5 Tutorials Switch back to the the 'Standard' Brush (Brush:Standard) Change the stroke to 'DragRect' (Stroke:DragRect) Select an alpha that would create some interesting eye geometry (Alpha:) The Alphas included with this tutorial were downloaded from the Pixologic Alpha Library: http://www. 138 .com/ zbrush/downloadcenter/alpha/ Drag the Alpha on the model again.

5 Tutorials The final eyes completed.ZBrush 3. 139 .

Select the 'LayerConst' brush (Brush:LayerConst) The 'LayerConst' brush can be used to create quick indents on the surface of the model. Holding ALT will create an indent. 140 .ZBrush 3. Select the Armor Subtool.5 Tutorials Continuing to the Armor.

ZBrush 3. and the Alt Function of the brush (Holding ALT) continue detailing all the metal surfaces. Another brush that has been included with this tutorial is the Jdrust_StandardLAzy brush. 141 .5 Tutorials Using a combination of Draw Size. This brush is a modifed version of the 'StandardLine' brush that can be used to create quick panel lines.

Store a Morph Target of the mesh (Tool:Morph Target:StoreMT) After the Morph Target is stored turn on Surface Noise (Tool:Surface:Noise) Adjust the curve of the Noise Graph.ZBrush 3. the 'Noise Scale' (Tool:Surface:Noise Scale). With the desired noise being visible hit 'Apply to Mesh' (Tool:Surface:Apply to Mesh) 142 .5 Tutorials Finally another way to add quick variation is though the usage of Surface Noise and Morph Targets. and the Noise 'Strength' (Tool:Surface:Strength) until the desired noise appears across the surface of the mesh.

 Mix Alphas with the 'Morph' brush to create rusted and dirty surfaces.ZBrush 3.5 Tutorials After having the noise applied switch to the 'Morph' brush (Brush:Morph) Using the 'Morph' brush sculpt on the surface. (Tool:Save As) 143 . Save recently? Now is a good time. Areas that the brush hits will remove the noise that was applied.

Click the 'Frame' button located on the right hand side of the canvas. Select a Plane3D object (Tool:Plane3D) Change the Plane3D into a PolyMesh (Tool:Make PolyMesh3D. MAKiNG A SPiKE BRUsH Most brushes that are used in ZBrush can be created right in the program.ZBrush 3.  The following is a quick way to generate one of these brushes.) The mesh should now be a PolyMesh3D object. 144 .  Most insects have spikes or hair that cover their bodies when viewed at a microscopic level.5 Tutorials 13.

ZBrush 3.5 Tutorials The PolyMesh3D plane should now be zoomed in on the canvas. With 'Smt' off the plane should contain even topology and no beveled edges. 145 . Turn 'Smt' to 'Off' (Tool:Geometry:Smt) and 'Divide' (Tool:Geometry:Divide) 4 to 5 times.

ZBrush 3. 146 .5 Tutorials Select the 'ClayTubes' brush (Brush:ClayTubes) Start sculpting a point in the center of the plane Continue sculpting and add an outer ring.

5 Tutorials Switch to the 'Flatten' brush (Brush:Flatten) 'Flatten' around the edges of the sculpt. Once the plane has fully filled the canvas 'GrabDoc' Alpha (Alpha:GrabDoc) Select 'PolySphere_1' from the Tool menu (Tool:PolySphere_1) 147 .ZBrush 3. then use 'Scale' from the right hand tool bar to scale the plane in closer until it fully fills the canvas.

5 Tutorials Draw the 'PolySphere_1' on the canvas. Next select the 'Standard' Brush (Brush:Standard) Set stroke to 'DragRect' (Stroke:DragRect) Load in the Alpha that was just grabed.ZBrush 3. Sculpt the 'DragRect' Alpha on the PolySphere 148 .

Spikes should appear. Change the Radial Fade 'Rf' on the Alpha to '44' (Alpha:Rf) Change the 'Z Intensity' to '100' Sculpt the 'DragRect' Alpha on the PolySphere. 149 .5 Tutorials The effect doesn't yet look like a spike or hair.ZBrush 3.

change the 'Brush Modifier' to '100' (Brush:Modifier:Brush Modifier) The Spikes drawn on the PolySphere with varing 'Brush Modifier' values 150 .ZBrush 3. change the 'Brush Modifier' to '-100' (Brush:Modifier:Brush Modifier) To make the spikes appear sharper.5 Tutorials To make the spikes appear dull.

5 Tutorials To save the brush for use later go to the brush menu and 'Save As' (Brush:Save As) Save recently? Now is a good time.ZBrush 3. (Tool:Save As) 151 .

152 . Select the FlyingStingyThing mesh from the Tool menu. FiNAL DETAiLiNG PART 2 [ Corresponding *.ztl' ] Now that the spikes have been created the last thing to do is to apply the spikes to the Flying Stingy Thing model.ztl file labeled '12_flyingstingything_finalbw.ZBrush 3.5 Tutorials 14.

) With the brush selected Sculpt the 'DragRect' over any areas that would have spikes or hair.ZBrush 3. or load in the 'Jdrust_SpikesRough' brush (Brush:Jdrust_SpikesRough. Continue sculpting to fill out the model. 153 .5 Tutorials Continuing with the brush created above.

ZBrush 3.5 Tutorials The final version of the model fully detailed and spiked. 154 .

5 Tutorials 15. VARiOUs RENDERs 155 .ZBrush 3.

5 Tutorials 156 .ZBrush 3.

Load the Final FlyingStingyThing Tool.5 Tutorials 16. then Select the body SubTool (Tool:SubTool) The ActivePoint count before decimation 157 .ztl file labeled '12_flyingstingything_finalbw.ztl' ] Decimation Master is now available for ZBrush 3.  Here is the quick process to get the Flying Stingy Thing mesh down to a more reasonable polygon count for printing.ZBrush 3. DECiMATiON MAsTER [ Corresponding *.5.

ZBrush 3.) Then press the'Decimate Current' button ((Zplugin:Decimation Master:Decimate Current) 158 .5 Tutorials Launch Decimation Master (Zplugin:Decimation Master) Hit 'Pre-process Current' (Zplugin:Decimation Master:Pre-process Current) Change the 'K Polys' to '600' (Zplugin:Decimation Master:K Polys.

Select the wing SubTool (Tool:SubTool) The ActivePoint count before decimation Hit 'Pre-process Current' (Zplugin:Decimation Master:Pre-process Current) 159 .5 Tutorials The mesh should look like this (you can barely see any difference from the original) The Active Point count after decimation.ZBrush 3.

) Then press the'Decimate Current' button ((Zplugin:Decimation Master:Decimate Current) The mesh should look like this The Active Point count after decimation.ZBrush 3.5 Tutorials Change the 'K Polys' to '250' (Zplugin:Decimation Master:K Polys. 160 .

ZBrush 3.5 Tutorials

Select the armor SubTool (Tool:SubTool)

The ActivePoint count before decimation

Hit 'Pre-process Current' (Zplugin:Decimation Master:Pre-process Current)

Change the 'K Polys' to '250' (Zplugin:Decimation Master:K Polys.) Then press the'Decimate Current' button (Zplugin:Decimation Master:Decimate Current)

161

ZBrush 3.5 Tutorials

The mesh

The Active Point count after decimation.

The mesh has been successfully decimated but the mesh was group split so it contains large holes that are not conducive to printing. To fix this ZBrush 3.5 now has a 'Close Holes' function.

With the armor still the active SubTool Hit 'Close Holes' (Tool:Geometry:Close Holes)

162

ZBrush 3.5 Tutorials

The Result

163

ZBrush 3.5 Tutorials Select the main body SubTool 164 .

5 Tutorials Hit 'Close Holes' (Tool:Geometry:Close Holes) The result 165 .ZBrush 3.

ZBrush 3.5 Tutorials Finally select the wing SubTool (Tool:SubTool) 166 .

ZBrush 3.5 Tutorials Hit 'Close Holes' (Tool:Geometry:Close Holes) The result 167 .

[ Corresponding *.5 Tutorials The final mesh fully decimated and holes closed.ztl file labeled '13_flyingstingything_decimation.ZBrush 3.ztl' ] Active Point counts from Start of Decimation to Finish 168 .

SW_Alien_Skin_18 by mokthemagicman .ZTL) • 01_flyingstingything_quicksketch. LisT Of FiLEs The ZBrush ZTools.ztl • 02_flyingstingything_zsphere.zbp • Jdrust_ZipperRight.zbp • Jdrust_StandardLazyThin.SW_ReptileSkin_01 by mokthemagicman .ztl • 07_flyingstingything_grouploop.ztl • 10_flyingstingything_groupsplit.zbp • Jdrust_StandardLazy.ztl • 03_flyingstingything_zsketch.zbp • Jdrust_Zipper.zbp Alphas (*.zbp • Jdrust_ZipperLeft.ztl • 08_flyingstingything_secsculpt.ztl • 05_flyingstingything_simpleform.pixologic.zbp • Jdrust_KhakiStitch.com/ zbrush/downloadcenter/alpha/ mr_stretch_01 by Martin Rezard .zbp • Jdrust_JeanStitch.ztl • 12_flyingstingything_finalcolor.ztl • 06_flyingstingything_polypainting. Alphas and Materials necessary for this tutorial are available for download at the following URL: http://www.zbp • Jdrust_DragGash.MC_Wood_05 by Marcus C 169 .zbp • Jdrust_SpikesRough.5 Tutorials 17.ZBrush 3.ZBP) • Jdrust_AlienFlesh.zbp • Jdrust_Straps.com/zclassroom/downloads/ Ztl files (*.PSD) The Alphas included with this tutorial were downloaded from the Pixologic Alpha Library: http://www.zbp • Jdrust_SpiralPores.pixologic.ztl • 09_flyingstingything_polish.zbp • Jdrust_SpikesClean.ztl • 04_flyingstingything_unifiedskin.ztl • 13_flyingstingything_decimation.zbp • Jdrust_SpikesVeins.ztl Brushes (*.ztl • 12_flyingstingything_finalbw.zbp • Jdrust_GiantWrinkle.

Splinter Cell: Pandora Tomorrow.com 170 . an award winning wood duck carver. Website information: http://www.ZBrush 3. Inc. Joseph’s work is inspired by his grandfather Joe Drust. As a Senior Character Artist in the gaming industry for almost 10 years Joseph has created character assets for games such as Ghost Recon. Joseph currently works for Vicious Cycle Software. ABOUT JOsEPH DRUsT Joseph Drust graduated from the Savannah College of Art and Design in 2001 with a degree in Game Design. North Carolina.com Email: jdrust@piggyson. in Morrisville.5 Tutorials 18. Ghost Recon Advanced Warfighter.piggyson. and Ben 10: Alien Force.

ZBrush 3.5 Tutorials NOTES 171 .

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