Main Page

From ZBrushInfo
In our continuing efforts to help ZBrush artists get the most out of using ZBrush we have altered the main page one more time. We believe this is the final version of the documentation for ZBrush 3. The documentation is a continuing effort, though, and is subject to change. If you are accustomed to looking something up through the previous main page, you can still find that page here. We'd appreciate comments as to this new organization. Please e-mail 'doc' at 'pixologic.com'.

ZBrush 3 Main Manual
Useful Information: Keyboard Shortcuts User Edited FAQ Palette Reference Downloads
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Part 1: ZBrush 101 r Welcome To ZBrush r Installation and Licensing r Key Concepts r Controls and the Interface Part 2: Sculptor's Workshop r Digital Clay r "Scalpel, please." Rakes, Gouges and Brushes r Remove Your Mask r Keep It Seperate r Paint It! r Working The Crowd: Multiple Objects In ZBrush r Keep It Non-Linear: Layers r Something Old, Something New: Mesh Extraction r Strike A Pose: Transpose

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Strike A Pose: Rigging Win The Polygon Lottery With HD Geometry! Retool It: Understanding Topology Arranging Your Workspace

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Part 3: Communicating With The Others r Bump, Displacement, and Normal Maps r Displacement Exporter r Integration With Other Apps: ZPipeline Guides (written for ZBrush 2) r ZScripting Part 4: The Material World r Materials r Sampling The Material World: MatCap r Lighting r Rendering The Big Picture r ZBrush Home Movies Part 5: The Dimensional Rift r The Pixol r Space Poly Continum: 2D, 2.5D And 3D Understood r Crossing The Great Divide Part 6: Tutorials r Character Modeling: "Birth" by Francois Rimasson s Beginning with ZSpheres s Sculpting and Posing s Details, Texturing, Shading, Rendering, and Compositing r Character Modeling: "Pinup Girl" by Alex Huguet s Establishing the Base Mesh s ZBrush Sculpting s Posing s PolyPainting s Exporting to 3DS Max r Character Modeling: "Eagle Head" by Joe Lee s Start with ZSpheres s Retopologization s Adding Feathers r Detailing Characters: Making Hair by Joe Lee

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Blocking It In s Adding Strands Sculpting a Skull With Image Planes Topology and Reflow Lab: Plakkie and other users have created a great tutorial, originally on ZBrushCentral and now on the wiki, all about using topology in ZBrush 3. Well worth checking out! Material Capture by Meats Meier ZBrush 2 General Tutorials (Covering many topics–Good for new users.) s Introduction to the ZBrush Interface:Using controls, understanding edit modes, basic painting, manipulating 3D objects. s Tutorial: Rusted Golden Idol:Some basic 3D modeling, painting materials and textures, alphas and masking. s Tutorial: Bamboo Scene:More modeling and materials, lighting and rendering, masking. s Not So Primitive: Parametric Models:Creating complex models using parametric adjustments to ZBrush's 'primitive' models. s Hiding and Showing Model Parts:Learn how to hide or show model groups or polygons, to more easily work with areas of interest. s Tutorial: Creating a Polymesh Z:Use model partial visibility to create a shaped plane, create a 3D model from it using the powerful Difference Mesh feature, maintain crease sharpness in a subdivided model. s Tutorial: Modeling a Telephone:Edge loop and low-resolution mesh modeling, Projection and Normal maps, edge crisping, (a different way of maintaining edge sharpness). s Tutorial: Warrior Image:Addresses a huge number of ZBrush's features! Creating models with ZSpheres, high-resolution detailing and texturing, positioning multiple models in a scene, lighting and rendering, and more. s Tutorial: Dragon Lizard:Creating low-res meshes from ZSpheres and edge loop modeling, detailing, texturing, materials, lighting and rendering.
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The Reference Library r Controls Reference s Menu and Submenu Contents and Descriptions r More Resources s Pixologic Plug-ins s User Plug-ins s User FAQ (Written and maintained by users.) s ZBrush 2 Wiki: The old ZBrush 2 wiki. All of that information is also contained in this wiki, but the old wiki may be useful for users still on the previous version of ZBrush. s Keyboard Shortcuts

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Shortcuts
From ZBrushInfo

Contents
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1 Keyboard Shortcuts r 1.1 Alpha Palette (Alt+A) r 1.2 Color Palette (Alt+C) r 1.3 Document Palette (Alt+O) r 1.4 Draw Palette (Alt+D) r 1.5 Edit Palette (Alt+E) r 1.6 Layer Palette (Alt+Y) r 1.7 Light Palette (Alt+L) r 1.8 Marker Palette (Alt+K) r 1.9 Material Palette (Alt+M) r 1.10 Movie Palette r 1.11 Picker Palette (Alt+P) r 1.12 Preferences Palette (Alt+P) r 1.13 Render Palette (Alt+R) r 1.14 Stencil Palette (Alt+N) r 1.15 Stroke Palette (Alt+S) r 1.16 Tablet Palette (Alt+B) r 1.17 Texture Palette (Alt+K) r 1.18 Tool Palette (Alt+T) r 1.19 Transform Palette (Alt+F) r 1.20 Zoom Palette (Alt+W) r 1.21 ZScript Palette (Alt+Z) 2 Other Resources

Keyboard Shortcuts
Note: Mac Users: All keyboard shortcuts also work on the Mac. Simply substitute the Cmd key for Ctrl

Alpha Palette (Alt+A) Color Palette (Alt+C)
C Selects whatever color is under the cursor. Ctrl+F Fills layer with currently selected color (or texture) and material Document Palette

Document Palette (Alt+O)
Ctrl+O Opens a Document Ctrl+S Saves a Document

Draw Palette (Alt+D)
I Rgb Intensity slider appears at cursor location Shift+I Z Intensity slider appears at cursor location L Locks Rgb and Z Intensity sliders S Brings up Draw Size slider at cursor location Alt While held down, toggles between Zadd and Zsub Draw Palette (Alt+D)

Edit Palette (Alt+E)
Ctrl+Z Undo Ctrl+Shift+Z Redo (Note that both functions are based on the mode that the user is in. If Transform>Edit Object is active, then will undo the last change to the model. If it is not active, then they will undo or redo the last changes to the canvas. Some changes, however, cannot be undone.)

Layer Palette (Alt+Y)

Ctrl+N Clears the active layer Ctrl+F Fills layer with currently selected color (or texture) and material Ctrl+B Bakes the layer shading Shift+Click On any layer, toggles all layers on or off ~+Click Selects the layer on which the clicked pixol resides ~+Drag Moves the layer contents (Equal to Layer>Displace H and Layer>Displace V) ~+Alt+Drag Moves the layer content depth (Equal to Layer>Displace Z)

Light Palette (Alt+L) Marker Palette (Alt+K) Material Palette (Alt+M) Movie Palette
Ctrl+Shift+G Brings up Grab Frame slider at cursor location Ctrl+Shift+O Starts continuous recording Ctrl+Shift+P Plays ZMovie Ctrl+Shift+W Select a window Ctrl+Shift+1 Records a single frame Movie Palette (Alt+V) ;

Picker Palette (Alt+P) Preferences Palette (Alt+P)
Ctrl When Popup Info is turned on, hold down Ctrl to see more detailed descriptions Ctrl+Click

On a Float Menu/Shelf item, removes that item from the Float Menu/Shelf Ctrl+Drag Pulls an item from the interface into the Float Menu or Shelf. Items can be docked with other items, or left floating separately. Only interface elements which exist when ZBrush is launched may be placed in these locations. Ctrl+Shift+I Stores interface configuration Tab Toggles Float Menu and Shelf on or off

Render Palette (Alt+R)
Ctrl+R Renders area around cursor Ctrl+Shift+R Renders all

Stencil Palette (Alt+N)
Alt+H Turns Stencil on or off Ctrl+H Hides/Shows Stencil Spacebar Brings up Coin Controller at cursor position

Stroke Palette (Alt+S)
Ctrl+1 Replays last stroke Ctrl+2 Replays all strokes Ctrl+3 Records brush strokes

Tablet Palette (Alt+B) Texture Palette (Alt+K) Tool Palette (Alt+T)
A When working with ZSpheres, toggles the mesh Preview

D Goes up one mesh subdivision level (if available) Ctrl+D Divides the active mesh Shift+D Goes down one mesh subdivision level (if available) Ctrl+E Creates an edge loop around the visible portion of a polymesh object Ctrl+Shift+T Saves the active tool

Transform Palette (Alt+F)
E Activates Scale F Quick 3D Edit Shift+F Polyframe mode Q Activates the Draw pointer R Activates Rotate T Enters/Exits Edit mode W Activates Move M Makes Marker Ctrl+M Removes Marker X X Symmetry Y Y Symmetry Z Z Symmetry Ctrl When Edit Object is active, hold down to paint a mask on the object Ctrl+Click (On canvas) Masks all visible portions of a mesh Ctrl+Shift Used with click or drag for partial mesh visibility controls (more info in this guide)

G Activates Projection Master panel Ctrl+G 3D Copy Shift Constrains object rotation in Rotate or Edit Object mode Shift+S Snapshots the current object or stroke

Zoom Palette (Alt+W)
0 Views actual size + or Zooms in (+) or out (-) Ctrl+0 Half Sized, Antialiased View Space+Drag Pans the canvas

ZScript Palette (Alt+Z)
H Shows/Hides ZScript window Ctrl+U Reloads current ZScript Ctrl+Shift+L Loads a ZScript Left Arrow Loads last ZScript Right Arrow Loads next ZScript (if multiple ZScripts have been loaded) Up Arrow Scrolls ZScript up Down Arrow Scrolls ZScript down Esc Halts ZScript execution Spacebar Brings up QuickMenu at cursor location

Other Resources
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Hotkey reference cards by ZBC member Chomers

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Hotkey Editor

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Welcome To ZBrush
From ZBrushInfo

Welcome to ZBrush. ZBrush is a unique application written by artists for artists. The company behind ZBrush is committed to the cause of digital art tools for artists. ZBrush 3 continues our development of artist-friendly digital art tools. We have:
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boosted ZBrush's speed added real-time shadows, real-time material capture and render (MatCap),

We hope you enjoy The Next Step. mesh retopologizing. topology/cavity/color based maskings. 29 June 2007.q q q q q q q q q q q full 3D sculpting and texturing with alphas and textures. tested. and refined again every feature. 2D / 2. We have refined.php/Welcome_To_ZBrush" q q q q q This page was last modified 02:58.5D /3D mesh projections.info/docs/index. The Pixologic Team Retrieved from "http://www. support for 32 and 64 bit systems. This page has been accessed 62 times.zbrush. Privacy policy About ZBrushInfo Disclaimers . mutithreaded support for up to 256 processors. real-time posing with ZBrush's Transpose functionality. 3 years in the making. and more. one-click turntable recording and quicktime export. ZBrush 3 sets out to unleash the 'artist within' and create an environment that is an extension of your own creativity. perspective camera. advanced ‘digital clay’ with up to one billion polygons using HD geometry.

6. .8 Upgrading Computers r 2.3 Check-in a license s 2.2 Installation Errors 2 Licensing r 2.7 Online Activation – The Portable Licensing Solution r 2. Simply double-click the ZBrush3_Setup.2.Installation From ZBrushInfo Contents q q 1 Installation r 1.2.10 Lost Serial Numbers r 2.4 Installing ZBrush in a Network Environment r 2.1 Individual License s 2.2 License Types s 2.3 Phone Activation r 2.6.1 About Licensing r 2.1 Activation s 2.1 Windows Vista: Important Notice r 1.2 Volume License s 2.1 Online Activation s 2.1.2 Email Activation s 2.6.5 Windows Vista Notes r 2.11 Selling Your License r 2.6 Activating ZBrush s 2.12 Other Questions Installation Installation is fast and easy.9 Recovering From a System Crash r 2.1.3 Educational r 2.6.1.3 Upgrade From ZBrush 2 r 2.2 Personalizing Your ZBrush s 2.exe.6.2.6.

"I Agree".Click next at the installer's startup screen. accept the license agreement by choosing. To continue. .

. Click Install to begin installation.Click Next to install ZBrush 3 in its default directory or select Browse in the upper right to choose a different location for it.

If it is not installed you may get a side-byside configuration error. This package must be installed for ZBrush to run properly. If you do not install it now and encounter a problem later you can install it from the troubleshooting folder in the ZBrush install directory.Once installation has begun you will be asked to install a C++ 2005 Redistributable Package. Click Finish to end registration. .

Once you have downloaded ZBrush and installed it. you will be asked to activate and personalize your copy of ZBrush 3. . See 1723 for that case. ZBrush 3 cannot be activated without it.Launch ZBrush from the Start menu. Installation Errors If you have errors during installation. Error 1723: WindowsInstaller is old. then re-download. The first time you start ZBrush you may have to right click on the executable and select "Run As Administrator". If you lose this please contact Cleverbridge at 1-866-522-6855 or 49 221-355 044-15 (Europe). Your serial number is your proof of purchase. Error 1335: Either your download is corrupt. you can use your coupon code to register and obtain a serial number. Another cause is an old WindowsInstaller. look up the error number below and take the required action. Windows Vista: Important Notice Windows Vista has several new security enhancement. Download new installer from here Licensing About Licensing When you purchase ZBrush 3 you will receive a download link and a serial number. or it should be copied to the same drive as you are installing to. Activation requires a serial number that is obtained at the time of purchase. If you bought through a reseller.

To take full advantage of the individual license make sure to activate online. Learn more about the check-in process here Volume License Corporations and large groups purchase volume licenses which use one serial number to activate as many licences as purchased. Using online activation. you can use your coupon code to register and obtain a serial number. Once you have downloaded ZBrush and installed it. Learn more about the check-in process here. Activation requires a serial number that is obtained at the time of purchase. the company can move these activations around by first checking-in (deactivating) licenses. ZBrush 3 cannot be activated without it. Educational . you will be asked to activate and personalize your copy of ZBrush 3. License Types q q q Individual License Volume License Educational License Individual License An individual license is issued to a single user. This license allows one user to install and activate ZBrush as needed provided they are the one using ZBrush. If you lose this please contact Cleverbridge at 1-866-522-6855 or 49 221-355 044-15 (Europe). When you purchase ZBrush 3 you will receive a download link and a serial number. and then checking-out (reactivating) those licenses on new machines. Volume licenses does not require online activation but you can not move licenses that are activated via phone or email. Your serial number is your proof of purchase. If you bought through a reseller.Welcome to the ZBrush 3 licensing page. Using the Check-in facilities explained below you will be able to take ZBrush with you where ever you go.

You can activate the following ways: q q q Online Activation Email Activation Phone Activation Online Activation . These licenses may only be purchased through authorized academic resellers and require Proof Of Academic Ownership. For a list of current resellers. Activating ZBrush The first time you start ZBrush 3. email address and physical address to support@pixologic. see here. and are available to students or faculty of accredited learning institutions. you will be presented with an activation screen. full name. Windows Vista Notes It is important that you right click on the executable of ZBrush inside the ZBrush directory and choose Run As Administrator.Educational Licenses are for non-profit use only. Upgrade From ZBrush 2 To upgrade to ZBrush 3 email your order id. You can also set it to permanently run as administator by choosing Properties from the right click menu. Running as an administrator the first time ZBrush is started may cause permissions problems with the license files.com Installing ZBrush in a Network Environment If you are installing and running ZBrush in a network environment where some users do not have full control of their computers you must be sure to run ZBrush as the intended user the first time it is started.

You’ll find it . The software has also been added to your Start Menu>All Programs. ZBrush will verify your serial number and then start. When you start ZBrush for the first time. 1. select Online Activation. Note: You must be connected to the internet to use this option.Activation Online activation is the easiest and quickest way to activate ZBrush 3. Enter your serial number when prompted. Your desktop now has an icon for ZBrush 3. Double-click that to run it. 1.

The internet activation method is selected by default. Click Continue Wait while ZBrush validates the serial number. When ZBrush 3 is activated onlilne it obtains your name from our purchase records and stores that within ZBrush. 5. 4. This takes several moments. When it finishes. Note: Remember to check-in your activations (deactivate your license) from machines that you no longer use. 7. Simply install it. 3. When you run ZBrush 3. Congratulations! You are ready to begin ZBrushing! Personalizing Your ZBrush Personalizing ZBrush is only possible with online activation and has many benefits. ZBrush will open to the new welcome screen. activate it and personalize it. Email Activation . ZBrush will then be deactivated and your activation will be returned to the license server to be used on another machine. Please note. you can only deactivate a license that was activated online. your name will appear in the upper right corner of the interface as its proud owner. Enter the serial number that was emailed to you after upgrading. First among those benefits is that you can take ZBrush 3 with you where ever you go.2. This option does not work for activations handled over the phone or via email. 6. If you don't do this. you won't be able to move the license to another machine. in a menu called “Pixologic” The ZBrush Activation Method will appear. Click Continue A ZBrush Serial Number window opens. Check-in a license To check in (or deactivate) a license go to the Zplugin: License sub-palette and press Deactivate License.

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This takes several moments. Click Activate. 1. Enter the activation code that was mailed back to you. ZBrush will open to the new welcome screen. You will receive your activation code well before the grace period runs out. Select the button for “Send Email Activation Request” 4. Company name and phone number are optional. choose the “Activate later” option and continue. Unless you obtain an activation code from Pixologic. 7. launch ZBrush. Your desktop now has an icon for ZBrush 3. When it finishes. Click OK 6. Your email client will open with a pre-generated email containing an authorization code. click “Enter Activation Response Code” 14. ZBrush will stop working.If you choose to activate via email. 9. Click Continue 5. you will have a grace period of 7 days before you must complete your activation. 16. 3. 15. Any time you launch ZBrush before receiving the email response with your activation code. Enter your serial number that was emailed to you after upgrading. 8. The ZBrush Activation Method will appear. At the Activation Method window. Double-click that to run it. A countdown will show how many days remain during the grace period. Congratulations! You are ready to begin ZBrushing! Phone Activation . You’ll find it in a menu called “Pixologic” 2. The software has also been added to your Start Menu>All Programs. The internet activation method is selected by default. 11. When you receive your activation code. 12. Enter your first and last name. Email activation requires all three of the following: q q q Serial Number Activation Request Code Activation code 1. 10. Send the email. 17. They will help us if we need to contact you for any reason. 13. A confirmation window will appear. Wait while ZBrush validates the serial number.

Phone activation requires all three of the following: .

Select the button for “Activate by Phone”. The ZBrush Activation Method will appear. the number to call is 1-213-291-7689. 12. Double-click that to run it. The internet activation method is selected by default. Your ZBrush license is valid for two installations: work and home. 3. When it finishes. . When asked. M-F. ZBrush will open to the new welcome screen. Expand this to locate the Check-In License button. Click Deactivate License 3. Enter this into the activation window. Wait while ZBrush validates the serial number. The software has also been added to your Start Menu>All Programs. 4. When asked. Call 888-748-5967 from anywhere in North America. State that you would like to activate ZBrush 3 by telephone. 9. 3. Click Continue 5. If you are overseas. Click Activate. 2. 2. You’ll find it in a menu called “Pixologic” 2. The customer support representative will provide you with an activation code. 11. The Zplugin menu has a sub-menu called License. 10. if you need to move one of those installations to another computer simply follow the steps below: 1. This takes several moments. Your desktop now has an icon for ZBrush 3. Telephone activation hours are 9 am to 5 pm. only. 13. 6. 4. Congratulations! You are ready to begin ZBrushing! Online Activation – The Portable Licensing Solution Online activation allows you to take ZBrush with you from office to job site and back. Pacific Time. However. Confirm that you wish to do this. give your serial number that was emailed to you after upgrading.q q q Serial Number Activation Request Code Activation code 1. 7. Click Continue Activation. 8. give the authorization request code from the ZBrush activation window. Telephone activation is available in English. 1. Wait while ZBrush deactivates and returns the license to the server. 1.

On your old computer: 1. On your new computer: 1. Deactivate your license using ZPlugin:License:Deactivate License. Install ZBrush. 1. 2.com to have one sent to you. It is very easy to do this. 6. and one was activated by telephone. you can take your copy of ZBrush where ever you go. If you need a new download link. . Copies that are activated by email or telephone cannot make use of this portable license system. You will then be able to use your serial number to activate ZBrush on a third machine using the online method. Install ZBrush on another computer and activate it using the Online method. For example: You have installed ZBrush on two computers. you must have activated the copy being checked-in online. contact support@pixologic. Uninstall ZBrush using Add/Remove Programs in the Control Panel 3. One computer was activated online. you must deactivate the license from the computer that had been activated online. Upgrading Computers Pixologic understands that you’re likely to upgrade to a new computer at some point during the life of ZBrush 3.5. Please note that this requires online activation. 2. To install ZBrush on a third computer and use it as a portable license. 2. Using this system. While it is possible to have activated some of your computers using the telephone and email options. and will then quit. Be careful to remove all important data from your old computer! Remember to protect your ZBrush 3 serial number. Do not give it to anyone else to use. Activate ZBrush 3 using your serial number. Very important: Your serial number is YOURS. ZBrush will notify you that the license has been returned to the server.

After reinstalling your operating system (or getting a new computer). However. contact support@pixologic. Pixologic support will be happy to assist with this. contact Pixologic support for assistance.Recovering From a System Crash 1. We will work with you to make this possible. If you need a new download link. Please have your cleverbridge reference number ready.com for instructions. Lost Serial Numbers No matter how careful you are with your serial number. you must contact support@pixologic. Do not give your serial number away! Doing so will not actually transfer the license to the new user.com to have your serial number resent to you. we do understand that circumstances occasionally force a user to sell his license or desire to give it to someone else. you may still lose your serial number. the activation process may not work normally and will instead deliver a message that the license must be recovered. 3. 2. Pixologic. Depending on the nature of the crash. install ZBrush on it. The recipient cannot do this. Other Questions For all other questions or situations. please contact support@pixologic.com to have one sent to you. Activate using your serial number. Inc. If this should happen to you. Selling Your License It is Pixologic’s sincerest hope that you will use and enjoy ZBrush 3 for a long time to come. . To transfer your license. Please note that only the original license holder may initiate a license transfer.

info/docs/index. Privacy policy About ZBrushInfo Disclaimers . This page has been accessed 4.www. 25 June 2007.pixologic.com support@pixologic.zbrush.060 times.com 888-748-5967 213-291-7689 Retrieved from "http://www.php/Installation" q q q q q This page was last modified 22:25.

you will find them under the Tool palette. 2D and 2. A 2.5D documents. The Document The Document is the canvas you work in. These points in space combine to create a 3D surface that can be viewed and edited in programs like ZBrush. a depth-enabled Pixel.Key Concepts From ZBrushInfo ZBrush is a powerful sculpting.5D. See the chart below for more information. painting and designing application. q q q q They can work with 3D models.5D/ 2D brushes and 2. 2.5D or 2D brushes. 3D models and 2.5D / 2D brushes can be located in the same place: the Tool palette. 3D models are called Tools and Model's interchangably. The Pixol is. it has other important differences. However. In the interface. A 2. Click here to learn more about 3D modeling. They can also use 3D models as 2. Its is a combination of the viewport from a 3D modeler . A 2D Brush paints only color information. This tells ZBrush to ignore all material information and present a flat 2D surface to the user.5D Canvas is the depth enabled canvas you work in. To do this they use 3 primary tools: 3D geometry. This type of brushes uses a core ZBrush technology: The Pixol. To paint a 2D image in ZBrush select Render: Flat.5D brushes. They can work with 2. Artists can work in 3D. in one sense. They can work with 2D brushes. 3D Models and Tools In ZBrush. A 3D model can be called a Tool or a Model in ZBrush. q q q q A 3D model is a collection of geometric points in space.5D brush is a depth-enabled brush.

. To learn more about Documents click here. Go to the Document palette and click Save As. If you do not want to constrain the proportions. You can sculpt a 3D model inside the canvas as long as your model is in Edit mode. and to load or save them you will need to use the load and save commands under the Tool palette menu.and a 2D image. Images can be exported into . If you are modeling an object in ZBrush and you save the Document. however. Information saved with a document includes the image you've created plus any additional information (such as custom materials) needed to render that image. you can think of a document as an image. You sculpt or work with a Tool. Documents vs Tools The Difference q q You paint a Document. it will drop the model to canvas and save the document.tif or . lighting and other setting with them. not a model. If you are a modeler. unclick Pro. You can sculpt and paint Pixols in it. To save your Document. you save a document. Resizing is done by setting the desired width and height and click the Resize button. no longer be a 3D object. not under the Document palette menu. and those image formats can also be opened. and a few other special things such as blur tools. When you do a simple save. ZBrush documents store depth. Documents are the depth-enabled canvas that you paint. built-in 3D shapes. You can adjust the lights in it in the Light Palette and you can adjust the rendering settings in the Render Palette. depending on your particular version of ZBrush). But basically. custom models. material. then the models you work with will be tools. It will. Documents are ZBrush's 'default' file type. To save your Tool Go to the Tool palette and click Save As. They do not store 3D information. Tools are brushes. color.psd format (and possibly other formats as well.

Looking At Documents In-Depth A Document in ZBrush is a depth-enabled canvas. It utilizes the Pixol to create depth without the systems-intensive nature of a 3D scene.OBJ and . See the illustration below for more information. . Once 'dropped' it is no longer 3D geometry but is. q q All controls related to the Document can be found in the Document Palette.5D canvas. we will begin there. in order to understand the ZBrush document. so. instead.DXF.Models can be exported as . You can learn more about using the document for illustration here. Documents contain the following information that we will look at in more depth below: q q q Depth Lights Materials These attributes are stored in ZBrush via the Pixol. Artists work with 3D geometry that they 'drop' to a 2. Pixols.

Documents do not contain 3D models. Paint strokes can be given the appearance of metal. or mirrors. ZBrush is also a powerful depth-enabled paint program. you are sculpting digital clay. ZBrush changes the modeling process. . Pixol ZBrush is not just another modeling package. In ZBrush. points on the canvas – the pixels – have color. material and orientation and are called pixols. Pixols combines the simplicity of a 2D painting environment with the power of a 3D application. you can convert and export this high resolution geometry into the maps. Pixols are not drawn just as color on the canvas. They are rendered using their distance. In ZBrush. Instead of pushing and pulling points around. textures and low resolution geometry that you want to use with other programs. or concrete. These must be saved separately by pressing Tool: Save As. or wood. or of many. In other programs. orientation and material information. A change in position of the scene lights will affect their shading on the canvas. points on the canvas also have depth. many other things. It can create models with amazingly high polygon counts.

The Pixol: The Depth-Enabled Pixel The Pixel (2D) Color Information X and Y Position Information No Depth Information No Material Information The Pixol (2.5D) Color Information X and Y Position Information Z or Depth Information Material Information How Pixols Work .

5D stroke in ZBrush do the following: . To help us understand the interaction of depth. To paint a 2. color and material in ZBrush. The MRGB. color. Other sliders let you modify the size and shape of your brush. ZADD.In ZBrush. the Draw palette controls the show. ZSUB and ZCUT tell ZBrush how to apply depth. add perspective effects. and even simulate refraction. let’s look at an example. You can also get at these options in the upper part of the shelf. RGB and M buttons let you tell ZBrush whether to paint with material. This palette lets you instruct ZBrush how you want it to apply the effects created by the various channels. or both. The Intensity sliders let you specify how much color and depth to apply.

1. 3D Rendering Engine ZBrush's real-time 3D rendering engine harnesses the attributes of the Pixol and allows you to work with lights and materials in the canvas in real-time or near real-time for millions and millions of polygons. select the simple brush from the Tool palette. Material and Depth information to render your canvas to screen for you. 2. Then paint a stroke on the canvas. The real-time render engine combines the Pixols RGB. set our Draw Size 3. ZBrush’s real-time render engine looks at our settings in the Light palette and the material that we painted with then renders the stroke on the canvas for us. Make sure that Zadd is on. Lighting and Rendering . that MRGB is on. The image to the left shows you how ZBrush combines these attributes on the canvas for you.

. The Rendering Palette Click above to go to the reference section for the Render palette. While this may be an overstatement. The Light palette gives all the control that you need to be able to effectively light your images. The Light Palette Click above to go to the reference section for the Light palette. Meanwhile.It has been said that lighting and rendering have as much to do with creating a great finished image as every other aspect put together. it is true that poor lighting can wreck an otherwise excellent image and careful lighting can add tremendous mood — and emotion — to a scene. the Render palette allows you to control your render quality and add various special effects to put that finishing touch on your work.

the way a surface looks is the result of a combination of factors. including its base coloring or texture. ZBrush materials are always “live. with certain materials. the color you see will not necessarily be the color that you paint! Or to put it another way: Material + RGB (either color or texture) = Shaded RGB (displayed color) Also.Materials In ZBrush. and reflectivity. and the 3D objects. transparency. the lighting. using numeric settings as well as interactive graphs. You can use materials with any tool that adds pixols to the document. The ZBrush Material palette gives you a great deal of control over the appearance of object surfaces by letting you specify various surface properties such as shininess. and its material. Always remember that unless Render:Flat Renderer or Render:Fast Renderer are active. including the 3D brush. the Sphere brush.” In other words. if you use a particular material to create . you might need to use the Render:Best Renderer mode to see changes.

Not only does this allow you to easily change your mind regarding a material at any time. Looking At 3D Models In-Depth File Formats 3D models can be brought into ZBrush as an . one alpha (you will be prompted to save one if one is selected in the Alpha palette) and one texture (if one is selected in the Texture palette). PolyPainting.ZTL stores all your sculpting. any pixols that use that material will change in appearance to reflect the modified material.ZTL file format. This is ZBrush's native file format. and then modify that material later.pixols.ZTL's included in the ZBrush/ ZTools directory. Moving Your 3D Model on the Canvas . .obj or . but it can allow some interesting artistic possibilities. HD Sculpting. You can create 3D models in ZBrushing using ZSpheres or the . levels of resolution. ZBrush ships with following models for you to use: q q q q q q q q DemoHead DemoSoldier Dog SuperAverage Guy PolyCube PolySphere PolyPlane Rhino These files are stored in the . or to modify it on the fly.dxf. SubTools.

Alt +click on any part of the canvas or click once on the Scale or Move buttons on the right shelf. drag on the canvas. If the model fills the entire canvas you can use the safe area designated by the white thin lines. When you drag up and down. not on the model. To move a model hold down the Alt key then click and drag on the canvas. hold down the Alt key. the model will be resized. To center the model on the canvas (even if it's been moved out of sight by accident). click on the canvas. To zoom/scale the model. then release the Alt key without releasing the mouse click. . To move the model around the canvas you can do the following: q q q q To rotate your model press and hold the left mouse button and click and drag outside of the model.When dragging in the canvas area to position a model.

ZBrush offers an additional powerful feature when using subdivision with polymeshes. so that a low-resolution cage can give a high-resolution smooth surface. Also. To put it another way. Scale buttons on the left hand side of the interface. all the way back to the original polymesh. So a subdivided mesh can have multiple levels of subdivision. a polymesh retains a subdivision history. You can move back and forth between these subdivision levels as you model.If any of these methods of rotating your model are difficult just use the Move. The most commonly used subdivision scheme is the Catmull-Clark method. if you need to make . Rotate. Subdivision Modeling Subdivision modeling is familiar to most users of modeling programs. each time a polymesh is subdivided. it increases the polygon count of a model by replacing each polygon with multiple polygons. which also moves vertices as it subdivides. the geometry from the previous polymesh is remembered. press CTL while hovering over the interface item to learn more about and remind yourself of the hotkeys. equal to the number of times it was subdivided plus one for the original level.

Then.'large-scale' changes to an object. when you return to the high subdivision level. To understand the power of this ability. Use the SDiv slider to set the level you want to work on. etc. you add a "bumpiness" that gives the appearance of rocks. That detail can then be compared against a lower subdivision version of the same model to generate a displacement or similar map. you'll find that all of the fine "bumpiness" detail is still there. such as raising a significant portion of the surface. displacement. dirt. That work wasn't wasted! Subdivision levels are also used to generate bump. changes will be propagated across all levels. consider the following example. In either cases. Detail is added to an object at a very high subdivision level (possibly with many millions of polygons). These levels of resolution can be set in the Tool: Geometry sub-palette. . What to do? Well. and normal maps. so sculpting geometry at one level does not lose the work you've done at another level. you go back to the low subdivision level and use the sculpting tools of ZBrush to smooth out the hills. Once generated. At a low subdivision level. But it then turns out that instead of rolling hills. Using Levels of Resolution ZBrush subdivision levels allows the artist to work on different levels of resolution and have those changes dynamically update with the rest of the sculpting they have done at higher or lower levels of resolution. you need a flat plain. you can do it at a lower subdivision level where the model's polygons are relatively large (more of a 'cage') while fine details can be sculpted at a high subdivision level. You can also press "D" on your keyboard or SHIFT+"D" to go up and down the levels of resolution. you sculpt a polymesh plane so it appears as rolling hills. Finally. that map can be taken to an external program and applied to the lower-poly-count model to give a detail effect almost indistinguishable from the high-level sculpting in ZBrush. at a high subdivision level.

To learn about 3D models in ZBrush lets look at the Tool palette and all its sub-palettes.Working with 3D Models Tool menu. .

as are understood by most 3D programs. Tool:Preview Subpalette Allows one to redefine the model's default orientation and center point. Tool:Displacement Subpalette . concerned with creating and working with multiple levels of subdivision. Tool:Morph Target Subpalette Operations related to setting. noise. clothing. Tool:Texture Subpalette Operations relating specifically to 3D texture application. Tool:Deformation Subpalette Can apply a wide range of deformations to a model. but functions with the new very-high res (hundreds of millions of polygons) features of ZBrush. and combining those sculpt in different ways. Create. and restoring a sculpt to a previously defined form. the ability to choose or paint parts of your model to define if and how much they will be affected by subsequent operations. removing. Primarily used when first creating models. Tool:Layers Subpalette Allows multiple different sculpts of one model. Tool:Polygroups Subpalette Operations relating to standard mesh groups. etc. This also allows easy construction of full scenes. Tool:Masking Subpalette Controls Masking. hide. and show particular groups in your mesh. see the Texture Palette for more general operations on images.Tool:SubTool Subpalette Allows a mesh to be considered as made up of many different parts. For example. a monster could have a weapon. Tool:HD Geometry Subpalette Analogous to the Geometry submenu. Tool:Geometry Subpalette A very important submenu. etc. skews.

This page has been accessed 46 times. and as part of model retopoligization. primarily used when building a new topology atop an existing one. Tool:NormalMap Subpalette Operations related to generating or using normal maps.OBJ and so forth.info/docs/index. Tool:Display Properties Subpalette A simple submenu affecting certain display properties. ZMapper is a plugin that can provide much more sophisticated functionality. ZMapper is a plugin that can provide much more sophisticated functionality. 29 June 2007. Tool:Export Subpalette Used to save 3D models in other file formats. Tool:Import Subpalette Used to bring in 3D models from other file formats.Operations related to generating or using displacement maps.OBJ and so forth. Tool:Topology Subpalette Operations to do with mesh topology manipulation. Tool:Unified Skin Subpalette Operations to generate a polymesh skin over top of a ZSphere model. which can be used both for modifying models. Tool:Rigging Subpalette Controls rigging.zbrush. The next two sub-palettes are specific to ZSpheres.php/Key_Concepts" q q q q q This page was last modified 03:13. . such as if and when normals should be flipped. Privacy policy About ZBrushInfo Disclaimers . . Retrieved from "http://www.

Controls From ZBrushInfo To learn about Controls in ZBrush you can press and hold the CTRL key and hover over the interface item. Below we will explore the different ways to access Controls and use the Interface. You can also use the Palette Reference guide to find each control within a specific palette. A pop-up help box will give you several paragraphs of information to help you learn.2 Subpalettes 3 Trays (Palette Docking) 4 Tools and Other Inventory Lists 5 Curves 6 Saving Configurations r 6.1 Palette Controls r 2.1 Saving the Default Configuration r 6.2 Specialized Configurations r 6. Contents q q q q q q q 1 Interface 2 Using Palettes r 2.3 Layouts 7 The Startup Document Interface .

Also. The palettes along the top are in alphabetical order to make it easy to find. sculpting in ZBrush uses the Brush Palette. Each palette contains controls related to its main theme. ZBrush has trays to the left and right that can be expanded to hold palettes. ZBrush's controls are designed to be available as you need them. Each palette works with other palettes to perform the actions the artist needs. the Stroke Palette. . the Draw Palette and. For example.The centerpiece of the ZBrush interface is the canvas. They are grouped into palettes along the top of the interface in the Palette list. The last is the ZScript palette. The Movie palette contains controls related to recording and exporting movies from ZBrush. occasionaly. Import. the Alpha Palette. Flip H. Export and many others. They are also grouped along the edges of the canvas in the the Shelf. the Texture Palette and the [Picker Palette]]. For example. The first palette is the Alpha palette. the Alpha palette contains controls that relate to Alphas: Flip V.

Each palette contains a group of related . All of ZBrush’s functions are contained within palettes. there is a row of words that spans the top of the screen.Using Palettes Beneath the title bar. This is the Palette List.

To learn more about ZBrush Controls you can use the in-line help. Switches are interface items that can be turned on and off. and the maximum value is to the right. The minimum value is to the left. and also show where it fits within the range by a small indicator at the bottom of the slider. q q q Click the palette names to open the palette. In most cases clicking on an element within the palette will not close the palette. click in the 3D Shading slider and drag to the left to set a value of 50. q In the Render palette.functions. click the word “Antialiasing”. Pressing a button causes something to happen. r In the Render palette. Palettes only remain open as long as you keep the pointer over them. it is orange. Within the palette. clicking a control may close the palette. Sliders allow you to set a ranged value. Press CTRL and hover over the interface item. When on. r You can also set a slider value without dragging simply by clicking in it and then typing the value that you want. They show the current setting as a number next to the slider’s title. Click the 3D Shading slider and type 100. also known as sub-palettes. the switch is shown as dark gray. In a few special cases. these functions are further broken down into groups in order to help make it easier to locate the particular control that you need. many palettes contain menus. When off. Move your pointer off of the palette to close it. Clicking on a menu’s name will expand or collapse it. This allows you to change several settings without having to constantly pull the palette down again. Subpalettes In order to further help with organization. Palette Controls q q q Buttons are shown as a light gray raised object. . The slider value will update as you move the slider. These menus contain controls that are all related to a specific task within the palette’s more generalized categorization.

click along its outside edge. you might find that you return to the Tool palette frequently. both trays are empty. To collapse a tray.Clicking this separator will expand the tray. click its separator bar. When working with palettes. there is a pair of arrows at the vertical center of the interface. click and drag up. q q To open a tray. For example. In the default configuration. To help you find the right spot. Move the pointer into any blank space within the palette. By dragging within empty space in the palette. ZBrush accommodates this need by providing Trays on the left and right sides of the interface. Palettes can sometimes get to be so long that they go off the bottom of the screen. if you are sculpting a model. When it changes to up-and-down arrows. This allows you to use them however you see fit. you can slide its contents to reveal the hidden items.q Open all of the menus within the Render palette. However. These trays are used to keep palettes open continuously. . you will normally find that they are more convenient as pull-down menus. Trays (Palette Docking) ZBrush provides many ways to make your workflow easier. there will also be times when you need to repeatedly return to a particular palette.

q q To move a palette to the tray. Some general notes about trays: q q q q q q Each palette has a preferred tray. the palette will automatically go to the top of its preferred tray. it is not uncommon for them to scroll off of the screen. A palette can only exist in one place at a time. its appearance changes slightly. Click on the orange circular icon. If neither tray is open. You can also use the handle to move a palette from one location to another within the tray. This is handy when you have both trays open and want to put the palette in its non-preferred tray. Clicking the icon will toggle between the palette’s basic and advanced states. If you have a palette in the tray. Clicking on it moves the palette to the top of the open tray. Tools and Other Inventory Lists . If you would like to simplify the palette so that only its most basic features are available. click this icon. When a palette is in a tray. clicking on the handle will open the preferred tray and move the palette there automatically. there is also now a small icon with a triangle in it. This conserves room when several palettes are in a tray.This orange icon is called the palette’s handle.Doing this leaves the palette in the tray. To remove a palette from the tray. When several palettes are in a tray. If you do this. or if you wish it to be below other palettes that are already in the tray. The palette will now stay open while you continue to work on the canvas. click its handle. it will temporarily disappear from the tray and will reappear once its pull-down counterpart closes. you can still access it as a pull-down menu from the palette list. To bring items back into view. You can also drag the handle to move the palette where you want it. Next to the handle. If both trays are open. open it and look in the upper left corner. A palette that is in the tray can be expanded and collapsed by clicking on its title. Its icon appears to the left of the palette’s name and the handle moves to the right. It will still be waiting for you if you expand the tray again. simply click in any empty space within the palette and drag up or down.

In the popup menu. select the Sphere3D. Below. You can reselect that item by clicking on its small thumbnail rather than going through the popup menu. more small thumbnails will appear. q q In the Tool palette. a small thumbnail of it is added to the palette next to the large thumbnail. Once an item has been selected the first time using the large thumbnail. For your convenience. As more items are selected. etc. click the R button just above all the thumbnails to the right. To restore the palette to its starting number of small thumbnails.We have now changed the active tool from the Simple Brush to the Sphere3D. These small thumbnails provide shortcuts to recently used items.ZBrush uses Inventories to allow selection of objects such as tools. The active item will always be highlighted with a teal background and a small triangle in its lower right corner. Curves . click the large thumbnail. Several palettes use this thumbnail system to select things. we'll give a quick example of how inventory lists work using the Tool inventory. texture maps. Double-clicking on a small thumbnail will allow you to replace it with a different item from the popup menu. their large thumbnails are also located on the left side of the shelf.

A curve in ZBrush is simply a graph showing a range of values. defining the falloff of the sculpting tool. curves are found throughout the ZBrush interface. Saving Configurations Once you've customized ZBrush. and any number of other configurations that can be loaded explicitly at any time. you'll of course want to store your changes so you don't need to set them again every time you start ZBrush. Learn more about curves in the Curve Tutorial for ZBrush 2. You can save both a default configuration that is opened whenever you start ZBrush. etc. . also known as curves. Note: Zbrush does not save customizations automatically.ZBrush graphs. defining how fog or depth cue acts throughout a scene. you'll need to save them explicitly if you don't wish to lose them. Due to their versatility. They can be found in nearly every part of the ZBrush interface: material modifiers. provide a visual way to modify a range of values.

Your personal settings will remain unaffected regardless of the layout. another for texturing. If you would like to load the saved color scheme along with the layout. . and a third for lighting and rendering. by default. ZBrush will give you a message that your settings have been saved successfully. One example of a specialized configuration is Rapid Start. The keyboard shortcut for this action is Ctrl+Shift+I. you are not limited to it. q Click Restore Standard UI This returns you to the same layout that ZBrush shipped with. you will see several options for switching between layouts. The Preferences:Config:Save Ui and Load Ui buttons make it possible to create a variety of specialized configurations for various purposes. This interface configuration is a completely scripted interface created to guide beginning users into the ZBrush experience. click the Preferences:Config:Store Config button. In other words. Specialized Configurations While the custom configuration is the one that will load automatically when ZBrush launches. only the positions of elements are changed by clicking on any of these layout buttons. you might prefer to have one configuration for sculpting. hold down the Shift key when you click the Load Ui button. However. Layouts In Preferences: Config. Any colors and special settings within the palettes (such as memory management) will not be changed. There is no limit to the number of configurations that you may create. Each of these configurations saves the current color settings. For example.Saving the Default Configuration q Once you've customized the UI as desired. those settings are not loaded. The saved configuration will be loaded every time ZBrush launches.

The Startup Document While the configuration files store many settings. automatic ZScript recording is turned off if you use a startup document. Bear in mind that unless you initialize ZBrush before beginning recording. This document will be loaded every time ZBrush launches. You will need to manually begin recording if you wish to record your session. All document-related settings can be saved as part of a startup document.zbrush. This page has been accessed 3.php/Controls" q q q q q This page was last modified 17:58. These additional settings are all an integral part of your document (such as the background color or lighting setups).q Click on Restore Custom UI You are now returned to the custom layout that you just built. Privacy policy About ZBrushInfo Disclaimers .zbr ANY document can be saved as your startup. q q To create a startup document. there are many others that are not saved. 21 June 2007. q Save the file as in the ZStartup folder as StartupDocument. click Document:Save As Navigate to the ZBrush\Zstartup folder Aside Since ZScripts rely on many of these settings. Settings that will be recalled by the startup document include: q q q q q Canvas size Background color and Border color Layers Lighting Render settings Retrieved from "http://www.info/docs/index.438 times. even one where you have already begun painting on the canvas. you would also need to distribute your startup document if you wish to share the ZScript with any other users.

go to Tool: Load. a texture map and an alpha map. in ZBrush. look at how we can import 3D model's into ZBrush Contents q q q q q q q 1 Loading or Importing 3D Models 2 Moving. However. . To activate mirroring in ZBrush go to the Transform palette and press X. You can sculpt one side of your mesh and have the other side update as well. Next it has mirroring or symmetry. First. First. digital clay has several important features that will be important to artists who are looking at or involved in digital art. and Scaling Your Digital Clay 3 The In and Out of Sculpting 4 Dynamic Levels of Subdivision 5 Working With Dynamic Levels of Resolution 6 Sculpting Overview 7 Exporting Your Sculpt Loading or Importing 3D Models To bring in a ZBrush tool that we have created.Digital Clay From ZBrushInfo Sculpting in ZBrush can give the user the feeling of working in actual clay. Rotating. or Z depending on the axis that you want ZBrush to mirror across. Y. A ZBrush tool holds all your geometry information. its digital clay. Below we will look at how we can work with digital clay inside of ZBrush. it has UNDO. This can not be underrated.

Go to Tool:Import and browse to where your model is.To bring a model into ZBrush that we started in another program we must import it as an . DXF. Moving. To move the model around the canvas you can do the following: . draw your model onto the canvas and enter EDIT mode. let's refresh our knowledge of how we can move around with a model in 3D space. Rotating. not on the model. drag on the canvas. and Scaling Your Digital Clay When dragging in the canvas area to position a model. Now.OBJ or . To begin modeling.

To 'cut' into the model. The In and Out of Sculpting Now its time to sculpt on the Sphere. You have three main ways to sculpt on the model: q q q To build volume make sure ZAdd is on in the shelf. Alt +click on any part of the canvas or click once on the Scale or Move buttons on the right shelf. Also. hold down the Alt key. If any of these methods of rotating your model are difficult just use the Move. If the model fills the entire canvas you can use the safe area designated by the white thin lines. Then click and 'draw' on the model to begin sculpting. To center the model on the canvas (even if it's been moved out of sight by accident).q q q q To rotate your model press and hold the left mouse button and click and drag outside of the model. then release the Alt key without releasing the mouse click. To move a model hold down the Alt key then click and drag on the canvas. When you drag up and down. the model will be resized. you can either press ZSub on the shelf or press and hold ALT while 'drawing' on the surface of the model. Rotate. To smooth out your sculpt. click on the canvas. press and hold SHIFT while you 'draw' on the surface of the . press CTL while hovering over the interface item to learn more about and remind yourself of the hotkeys. Scale buttons on the left hand side of the interface. To zoom/scale the model.

For your first experiment try to sculpt a head. You can select Brushes from the Brush Palette To Learn More About Sculpting See The "Scalpel. Dynamic Levels of Subdivision Subdivision modeling is probably familiar to most users of modeling programs. . 2. To begin sculpting a sphere use the following steps: 1. 6. Immediately press T to enter Edit mode. Click on the Sphere to begin modeling it. Select PolySphere.ZTL and press OK Draw the Sphere on the canvas by clicking and draggin on the canvas. Press Tool: Load Tool and navigate to the ZTL folder in the ZBrush install. 3. Gouges and Brushes Section. 4.model." Rakes. 5. please. it increases the polygon count of a model by replacing each polygon with multiple polygons.

and normal maps. changes will be propagated across all levels. such as raising a significant portion of the surface. In either case. That detail can then be compared against a lower subdivision version of the same model to generate a displacement or similar map.In ZBrush. You can move back and forth between these subdivision levels as you model. if you need to make 'large-scale' changes to an object. so sculpting geometry at one level does not lose the work you've done at another level. At a resolution level of. You will not be able to sculpt toe nails or wrinkles. a Polymesh retains a "subdivision history. displacement. So a subdivided mesh can have multiple levels of subdivision. each time a polymesh is subdivided. Some example uses of Resolution Levels follows: r r r At the first resolution level of your model you will be able to sculpt general forms and establish the model’s overall gesture. Detail is added to an object at a very high subdivision level (possibly with many millions of polygons). all the way back to the original polymesh. At a resolution level of. you can do it at a lower subdivision level where the model's polygons are relatively large (more of a 'cage') while fine details can be sculpted at a high subdivision level. say." To put it another way. Once generated. Subdivision levels are also used to generate bump. Working With Dynamic Levels of Resolution . the geometry from the previous polymesh is remembered. that map can be taken to an external program and applied to the lower-poly-count model to give a detail effect almost indistinguishable from the high-level sculpting in ZBrush. 3 an artist may be able to begin developing more specific forms such as the eye muscles or the individual lips. 5 the artist should be able to begin developing forms such as the crease of the upper eye lid or wrinkles. say.

This is because Sphere3D is a ZBrush primitive which is a special ZBrush geometry format. If you are bringing in a . press the Lower Res or Higher Res button. In order to use MRME you will have to start with a base mesh or with ZSpheres. It is important to note that our options for the PolyMesh are different than the Sphere3D from the Sculpting Basics guide. q q For character work. Shift + “D” goes down. You can also smooth its UVs (Suv). or use the hotkeys: “D” goes up. ZBrush uses the Catmull-Clark subdivision algorithm to divide a model. To add levels of resolution to you model go to Tool:Geometry:Divide. If you save your model now as a . This will add the necessary geometry without altering the form To go up and down the levels of resolution you can use the slider.Let’s look at the settings in the Geometry sub-menu of the Tool palette. you will most likely divide the model with smooth on (Smt) but with smooth UVs (Suv) off For more mechanical objects or architectural facades you will want to Divide the model with Smt off. When you divide your model you can divide it smoothed (Smt on) or unsmoothed (Smt off).ZTL (Tool:Save As) it will keep these levels of resolution.

However. It is. An artist is almost always abstracting form from perception. are interested in presenting. To address this. Eventually. Wherever possible. a birds eye view of the sculpting process. as artists. This is not a step-by-step walk through of the process. Consider having a separate model that is just for sculpting in ZBrush. General forms such as the shape of the cranial mass and wedge of the jaw are crucial to developing a human face. Lets look at an overview of sculpting the human head. the wedge of the jaw gives way to the muzzle of the mouth which then gives way to the individual forms of the lips and so on. It is part of the artist's education that they learn how to go from the general to the specifics that they. if you will. in your Tools:Geometry sub-menu press the Crease button. General Forms give way to Specific Forms.broken model where the head is separated from the neck it will shrink the edges of each part inwards. press Uncrease. This will lock down the edge of each separate piece of geometry. This process of the general giving way to the specific is an ongoing process while sculpting. To remove a crease. The Greeks picked the specific forms they were interested in presenting as we do today. . Sculpting Overview An artist must understand form on several levels. however. One of the secrets of realism is that it is actually a form of abstraction. you will want to combine and merge verticies before bringing the model into ZBrush.

. 3. press Tool: Load Tool and navigate to the Ztl folder in the ZBrush root directory.1. To load this into ZBrush. We begin with a PolySphere. we flatten the sides of the cranium. Next.

5. . I take the rake brush from the Rapid Start Brush Presets and begin to rake the surface of the model making sure to rake around the volumn of each part. 7. Then. The orbit of the eye is very important to establish at this time as it is crucial to the character of the sculpt. I have also roughed out the mouth area. The rake is a great way to integrate and soften forms into each other. Here I have established a bit more the shape of the ear and the orbit of the eye. I will only do this AFTER I have established the barrel of the mouth which I do in the previous step.

. We divide the model and begin establishing more of the internal form. We start with a sphere that represents the bulk of the cranium. For this we use the Tweak brush which lets us pull large polygonal areas. The white lines show you the major forms I am looking at in this stage. From that sphere we will pull out the jaw and establish the main angle of the face.2. For this step you can simply use the Standard brush or you can use Rapid Starts preset brushes or simply make your own. 4.

I leave the rest of the surface to represent the eye lids. However. Finally. I do this mostly by sculpting out the negative of the eye ball area itself. many 3D programs can not . I set my rake to a smaller Draw Size and rake all over the surface to smooth it out without obliterating any details. 8. Exporting Your Sculpt You can export your models using the Tool: Export button. Using a mask I isolate the eye area and begin to sketch in the eye lid and the pupil of the eye.6.

handle the high polygon count of a ZBrush model. This is where displacement maps and normal maps can be used to send your sculpting from ZBrush to another application.php/Digital_Clay" q q q q q This page was last modified 23:56. To learn more about displacement mapping check out the ZPipeline guides here: q q q q q q Maya Max XSI Lightwave Cinema 4D Blender To learn more about normal maps check out the ZMapper guide below (ZMapper is only for ZBrush 2 at this time): q ZMapper Retrieved from "http://www.DXF model. Privacy policy About ZBrushInfo Disclaimers . When Exporting geometry check the following settings: q q q q q Set Tool: Export: Mrg on to merge UVs Set Tool: Export: Grp off to avoid partitioning your model Set Tool: Export: Qud on Set Tool: Export: Obj on for OBJ models.zbrush.info/docs/index. its best to leave the scale slider at 1 to avoid adjusting the overall scale of the model. This page has been accessed 109 times. Use Dxf to export a . Also. 29 June 2007. To learn more about any of these controls you can press CTRL on the keyboard and hover over the interface item inside ZBrush.

Also. In this section we will briefly explore what it means to sculpt inside of ZBrush and the tools available to you. Wrap Mode or Density. Each brush has a unique property that allows it to do something the other brushes can not." Rakes. . We will explore the following items: q q q Brush types Controlling the shape of your brush Controlling your brush stroke Anatomy Of A Brush Brush Types There are several brushes you can sculpt with in ZBrush 3. Once the model is in Edit mode you can begin sculpting on the surface right away."Scalpel. please. brushes in ZBrush can be modified using several important controls such as Gravity. Gouges and Brushes From ZBrushInfo Sculpting inside of ZBrush is fast and direct.

Alphas: Control the Shape of Your Brush You can control the shape of your sculpting by using an Alpha. To learn about saving brushes visit the Brush Manager page.Here is a list of the brushes available in ZBrush 3: q q q q q q q q q q q q q q q q Standard Brush (Std) Tweak Elastic Inflat Magnify Blob Pinch Flatten Clay Morph Layer Nudge SnakeHook ZProject Smooth Mesh Insert To learn more about brushes visit the Brush Palette page. To select an alpha you can do two things: .

click the large thumbnail of the Alpha and choose an Alpha from there. alphas are used for much more than just bump or displacement maps. Below. or materials are laid down. but you will also find alpha-related controls in other palettes. In ZBrush. Note: The Alpha Palette details all of the controls found in that palette. They can affect masking (which parts of an model or painting you work with). It can be used to represent intensity. For example. the gray intensity represents the height or depth of the bump or displacement. which can produce noticeable 'stairstepping' artifacts. To learn more about Alpha Controls visit the Alpha Palette page. masking. or q Open the Alpha Palette. and the shape of sculpts. We also give links to pages which describe material significantly related to alphas. Using Alphas . Some other programs are limited to 8-but alphas. and also turn alphas into other tools. In addition. which simply put means that they can produce much smoother gradations in gray. and powerful.q Click the large Alpha thumbnail to the left of the canvas and choose an Alpha from the popup window. set of capabilities). and hence wherever they used. how colors. and similar things. An alpha is a grayscale intensity map. And probably a few other things I can't think of right now. bump maps and displacement maps (both in ZBrush and in other programs) are both alphas. brush appearance. such as Stencils (which are masking tools that offer a different. you can make your own alphas. Note: ZBrush alphas are 16 bits in depth. we describe the most common ways of obtaining and using alphas.

This affects the depth of pixols on the canvas. A stroke and then a mouse click using the SimpleBrush (tool #2).q Many of the standard drawing tools use alphas to control their shape. Alpha Brush 30 applied to a PolyPlane with the DragRect stroke. q Alphas are the means by which displacement and bump maps are exported from ZBrush. q Alphas may be used with 3D sculpting brushes to affect the geometry of 3D models. and built-in alpha #30. Obtaining Alphas . The Alpha Displacement Exporter adds further power to this process.

You can of course load your own images for use as alphas using the xxx in the Alpha menu. To get a small alpha. A good library of very useful alphas is available as a ZBrush plugin at xxx. and then apply the alpha. Alpha are crucial for obtaining the very fine detailing for which ZBrush is know. You may find it more convenient to simply paint a pattern on the screen. If you load such files. and then reduce the canvas size before making the alpha. Since ZBrush supports 16-bit depths. try to use one that offers 16-bit grayscales. and use the stencil instead. you can paint it on a large canvas of the proper aspect ratio. Note: Alphas are displayed as thumbnail images in the alpha popup chooser. If you need to rotate an alpha. which can be selected from the Alpha Palette (menu) in the menubar. Alternatively. . See Projection Master. ZBrush can hold a maximum of 256 alpha at any given time. Other Points q q q q The popup that displays the current inventory of alpha functions similarly to other inventory popups. a large alpha can be useful when you want to repeatedly apply a lot of detail repeatedly over large areas. If you load or create more alphas than this. ZBrush comes with a large selection of useful alphas. you could simply rotate the model appropriately. see xxx. When using external programs to create alphas. such as the Tool popup. Or. or from the popup inventory to the left of the canvas. you will get a true 16-bit alpha. For example.First and obviously. then each new alpha will replace the currently selected alpha. The depth of the scene you created will be converted to the alpha (color will be ignored). Colored imaged will be converted to grayscale. but are always saved with the full dimensions of the source image from which they were created. and then use the xxx control to convert it into an alpha. For more details on inventory behavior. you can convert the alpha to a Stencils Stencil. if it makes sense. Note: Some image file formats do not support 16-bit grayscales. you may get the stairstepping effect described earlier.

Freehand.Strokes To learn more about Stroke Controls visit the Stroke Palette page. Below. DragRect. sculpted onto a plane in 3D Edit mode. Spray. Dots. . and were dragged to the lower right. though. DragRect. and was dragged out. Using DragDot A DragDot stroke allows you to drag your brush around. we're going to get a bit more creative so that your imagination might be sparked to try even more interesting things. For our example. Introduction While sculpting polymeshes in 3D you can use 6 different types of strokes: Dots. That's very useful for a case where you might want to have a company logo or some other bit of text stamped onto the model. and DragDot stroke types. left to right. Colorized Spray. These can be used with the alpha sculpting feature. Freehand. The DragRect stroke started at the center of the circle. to place your sculpting or painting at a precise point. Only the area under the mouse when the drag ends is affected. Spray and DragDot. all other strokes started at the top left.

Stroke:DragDot selected. Transform:Z on. Draw:Draw Size = 64. Alpha:Brush 09 (ring-shaped alpha) selected. Draw:Z Intensity = 80. .We'll need these settings: q q q q q q q q Brush:Std selected. 3. Click Tool:Layer:New to create a layer that we'll edit on. to activate Z symmetry Transform:(R) on. Transform:RadialCount = 8. to activate radial symmetry. Now: 1. 2. Click on the column and drag your stroke down to a point near the bottom as shown below. Use Tool:Layer:Rename and change the layer's name to DragDotLayer.

this stroke allows us to very easily create an intricate pattern with only a simple alpha. Using Dots This stroke draws a great many instances of the alpha very close together so that they blend into a single line. . while fast movement will create a blotchy effect that is useful for some organic work. separating it into sections. A slow stroke will create a uniform line (especially when lazy mouse mode is active). we're going to use the stroke to add some rings around the column. What's especially nice about this stroke is how precise it is. You can place your alpha instance(s) in exactly the desired position. For this example.Draw again to get this: As you can see. The closeness of each alpha to its neighboring instances is determined by how quickly you move the mouse.

2.Set: q q q q q q q q Brush:Std selected. 3. Rename it by pressing Tool:Layer:Rename. just: 1. Draw some narrow rings around the column as shown in the following figure. After everything is set up. Draw:Z Intensity = 20. Alpha:Brush 12 (ring-shaped alpha) selected. Create a new layer by pressing Tool:Layer:New. to activate Z symmetry Transform:(R) on. Stroke:Dots selected. Draw:Draw Size = 5. to activate radial symmetry. Transform:Z on. Transform:RadialCount = 100. . call it DotsLayer.

Now let's sculpt a bit of a design on the very top of the column.Keeping the same settings as above. Add a few more rings as shown in below. Draw:Draw Size = 10. . Otherwise keeping the same settings as above. set: q Alpha:Brush 01 (ring-shaped alpha) selected. set: q q Draw:Z Intensity = 15. Don't be afraid to keep going over the same area to build up additional width or depth.

to activate Z symmetry Transform:(R) on. the size is determined by your mouse movement. The alpha is drawn with its center point being where the stroke begins. Draw:Z Intensity = 35. As you move the mouse around the starting point. Set up for drawing with: q q q q q q q q Brush:Std selected. which may be rotated while dragging the stroke. Now just three strokes will add the sculpting shown below. Transform:RadialCount = 6. . to activate radial symmetry. Using DragRect The Drag Rectangle stroke draws a single instance of the alpha. the alpha is rotated.q q q Transform:RadialCount = 6. Draw:Draw Size = 20. the alpha becomes larger. Stroke:DragRect selected. Transform:Z on. As you move the mouse away from the starting point. Draw:Z Intensity = 50. Draw:Draw Size is irrelevant. Alpha:Brush 29 (three stacked arrows) selected.

Using Freehand The Freehand stroke type is very similar to Dots. 3. When the size is right. and release the mouse.1. 1. Drag straight down until the arrows almost touch those that are also being drawn to the left and right. Another use would be with a speckled alpha to draw pores on a person's skin. As you can see. thus preserving a naturally organic appearance. you can keep the stamps from repeating. Because you control the size and orientation of the alpha with every stroke. . Now draw a stroke that begins a little below the upper set of rings. Rename it to DragRectLayer by pressing Tool:Layer:Rename. but gives you precise control over how far apart the instances of the alpha will be stamped. the DragRect stroke type is perfect for stamping any sort of design onto the model. 2. move the pointer left or right a bit to ensure that the arrows point straight down along the shaft of the column. Create a new layer by pressing Tool:Layer:New. The result will be as shown in the next figure. Drag your stroke upwards to point the arrows toward the top of the column. Repeat this just above the next set of rings down.

to cause individual applications of alphas to be mostly overlapped. to activate Z symmetry Transform:(R) on. (Higher values would result in less overlap. Alpha:Brush 18 (ring-shaped alpha) selected. Transform:Z on. You could trace a line of rivets along the seams in an aircraft's panels.) Stroke:Lazy Mouse selected. Stroke:Spacing = 1. Transform:RadialCount = 6. to result in smoother lines as you draw. Stroke:Freehand selected. Create a new layer by pressing Tool:Layer:New. 1. 2. create cute little swirls of dots. etc. 3. Now draw a single line down the side of the column. to activate radial symmetry. Using Spray and Colorized Spray .Set: q q q q q q q q q q Brush:Std selected. Rename it to FreehandLayer by pressing Tool:Layer:Rename. Draw:Draw Size = 20. The Freehand stroke type is remarkably useful any time you want to draw lines of repeated detail. It may help to rotate the model onto its side before doing this. Draw:Z Intensity = 60.

Now simply draw some damaged spots on the column. Since we're strictly sculpting in this tutorial. Create a new layer by pressing Tool:Layer:New. Transform:RadialCount = 6. Spray will cause the value of the currently selected color to fluctuate. how much they fluctuate in scale. There are settings to determine how far apart the alpha instances can be. Transform:(R) off. the color modifications don't play a role and so we could use either stroke with exactly the same results. Transform:Z off. Colorized Spray will affect its hue. Draw:Z Intensity = 30. Alpha:Brush 04 (like a puff of cotton) selected. Draw:Zsub = selected. Draw:Draw Size = 20. The difference between the two stroke types is specifically in how each deals with color.These two stroke types splatter the model with semi-random copies of the alpha. how densely the instances are drawn (just a few scattered. and how color is affected. Stroke:Spray selected. We'll just use Spray. 3. Set: q q q q q q q q q Brush:Std selected. 2. Rename it to SprayLayer by pressing Tool:Layer:Rename. or a lot). . 1.

%22_Rakes% 2C_Gouges_and_Brushes" q q q q q This page was last modified 21:37. they also work quite well with polypainting.info/docs/index. Don't forget that while we've used them strictly in a modeling capacity in this tutorial.The Spray strokes are a very powerful way to quickly create randomized organic detail. That's where you'll really put the color features of these stroke types to good use.php/%22Scalpel%2C_please. This page has been accessed 94 times. Privacy policy About ZBrushInfo Disclaimers . Retrieved from "http://www. 29 June 2007.zbrush.

Instead. The following figure illustrates this: . partially masked to some degree.) By default. painting. etc. However.Masking From ZBrushInfo Contents q q q 1 Masks 2 Manipulating Masks r 2. The effect that operations such as sculpting have on masked areas of a model depends on the intensity of the mask at each point. the Tool:Masking submenu contains quite a few controls that can be used to generate masks automatically. see the Transpose feature for details on a specialized type of masking called topological masking that can be extremely useful when masking limbs and other model parts that correspond naturally to the flow of a model's topology.6 Unmask an Area r 2. etc.7 Clear a Mask r 2. You can do the following. or fully masked.8 Create a Mask Using Topology 3 Related Material Masks A mask is an area of your model that is 'shielded' from sculpting. Also. affect properties of masks and mask drawing. Manipulating Masks This section addresses how you can create and manipulate masks directly on the screen. (See ZBrush Modes. masked areas show up as dark patches on the model. Masks only apply when in 3D Edit mode.1 Paint Masks: r 2. Masked areas are not on/off.5 Blur a Mask r 2. they can be unmasked.) Note: The sections below talk about manipulating masks directly as you model.3 Lasso Parts of an Object to Mask r 2.2 Drag Rectangles Across Part of Your Object r 2. Paint Masks: You can paint masks on your object directly by holding down the Ctl key while painting on the model. (The stroke must begin on or close to the model.4 Invert an Existing Mask r 2.

. and drag a rectangle across part of your object. Left: Original model. Right: Masked model after sculpting. click on the canvas outside of your model. 2. hold down the Ctl key and click on the canvas outside the model. You can see the results below. click on the canvas outside your object (not too close.Left: Small masked 'dots' on the model created by holding down Ctl while drawing very short strokes with a small brush. either). Masked areas were not affected by sculpt. Hold down the Ctl key. Note: You need to start the drag outside the object. Invert an Existing Mask To invert an existing mask. Lasso Parts of an Object to Mask 1. 3. Drag Rectangles Across Part of Your Object Hold down the Ctl key. Right: Resulting mask. but you don't need to end it outside the object. Press Ctl+Shift+M or press Transform:Lasso (identified in the popup help as Transform:Marquee) to toggle into lasso mode. Drag out a lasso selection. Center: Model while rectangle is being stroked out (Ctl key held down).

and then inverting the mask again. following the topology of the model. Basically. this gives an extremely fast. This will 'spread the mask out' further across the object. painting a mask onto the area you want to unmask. Note: A convenient way to mask an entire object is to invert the mask while the object is completely unmasked. In this figure. by holding down Ctl+Alt and painting onto the model. easy way to mask out limbs. Note: If you don't want to remember the unmasking key combination. you can Ctrl-drag along the surface of a model. when in transpose mode. branches. which is where the topological masking is functional.Mask before and after being inverted with Ctl-click on the canvas. tentacles. and other extrusions. while decreasing its intensity. the inverted mask has been taken from the previous figure. to have a mask dragged out across the surface. . Unmask an Area You can 'unpaint' a previously masked area. Blur a Mask Ctl-click on a masked area to blur the mask. Create a Mask Using Topology This masking method is discussed more thoroughly in the Transpose page. Clear a Mask Hold down the Ctl key and drag on the canvas outside the model. and the 'border' of the model has been unmasked using Ctl+Alt-paint. you can also unmask an area by inverting the current mask. On models with typical topology. Any visible amount of dragging will do.

556 times. Sculpting Tips by Thomas Mahler (Quicktime required).Related Material q q q Sculpting With Masks by Cesar Dacol Jr. Modeling With Your Texture by Ryan Kingslien (Quicktime required). (Quicktime required). This page has been accessed 6.zbrush. Retrieved from "http://www. Privacy policy About ZBrushInfo Disclaimers .php/Masking" q q q q q This page was last modified 20:23. 19 June 2007.info/docs/index.

Polygroups only create separate selection areas. The example to the . There are 4 ways to create Polygroups: q q q q Auto Groups UV Groups Group Visible Material Groups Auto Groups Auto Groups will create a new group for each separate poly object. Another way is to use Subtools.Polygroups From ZBrushInfo Polygroups allow you to organize the mesh with visual grouping information. Your mesh is still one contiguous surface. Polygroups are one way to organize your mesh. Where SubTools create separate pieces of geometry.

upper right shows what Auto Groups will do. Group Visible Group Visible will group the entire visible part of the mesh. Material Group Material Group will group the model based on shaders assigned in other 3D applications. To learn how to hide and show parts of your mesh click here. UV Groups are very important to Multi Displacement 3. To turn this on you must enable Preferences: Importexport: Import . Keep in mind that a separate poly object is not a SubTool but a part of the object that does not share any polygon faces and is selfcontained. The image to left shows UV regions inside of the Maya UV Editor. The model will have to be exported from the other application with Material information in the OBJ file format. UV Groups UV Groups will create a new group for each UV section of the model that is in a unique UV region.

Mat before importing the mesh. Working With Polygroups You work with Polygroups directly on the surface of your model. q Invert Your Current Group Selection 1. 2.php/Polygroups" q q q q q This page was last modified 00:25. Press CTRL+SHIFT and click on the mesh where one group is Invert that selection: press CTRL+SHIFT then click and drag outside of the mesh Press CTRL+SHIFT and click on the other groups you want to select Invert this selection: press CTRL+SHIFT then click and drag outside the model Retrieved from "http://www. Press CTRL+SHIFT and click outside of the mesh. q Select More Than One Group 1. 3. Privacy policy About ZBrushInfo Disclaimers . q Show All Groups 1. Material Groups is very useful for transfering grouping information from other applications into ZBrush. In order for you to work with them and for them to be visible you must turn on Transform: Frame.info/docs/index. 4. q Show Only One Group 1. This page has been accessed 2. Press CTRL+SHIFT and click on the mesh where that group is.zbrush.638 times. 27 June 2007. Press CTRL+SHIFT then click and drag outside of the mesh.

Paint It! From ZBrushInfo To begin painting. For our example here we will be in Classic UI. Make sure that your model has enough polygons to hold a good amount of detail. It doesn't matter. we will use the MatCap Skin05 Material. In this example. . see the section called 'Setting Up Your Model in ZBrush's Classic UI in First Sculpt. This section will include the following: q q q q How to Set Up Poly Painting The difference between RGB and ZAdd Painting Basics How to export Poly Painting as a texture map First Steps Make sure your model is on the canvas and in Edit mode. we can be in Rapid UI or Classic UI. Poly Painting paints directly on the surface of your model. If you are not sure what a 'good amount of detail' means than simply make sure that it has over a million polygons. Choose a material that will work well with your model. If it is not. You can find the polygon count of a model by hovering your cursor over its thumbnail in the Tool palette.

as we saw on the First Sculpt page allows the user to add bulk to their model. Set the color in the color swatch to white or whatever base color you want to begin painting on. ZAdd. The second way is as follows: 1. RGB adds color. You can find the color swatch to the left of the canvas or in the Color_Palette.Set our model up for Poly Painting We can set our model up for Poly Painting in two ways. Painting Basics . 2. In the second option you do not get the chance to choose a color first. Press Color: Fill Object. as outlined above. and RGB selected on the shelf or in the Draw palette. To Paint on the surface of a model you must have Poly Painting enabled. The difference between RGB and ZAdd RGB and ZAdd are both options in the Draw palette and on the shelf. The first way is as follows: 1. Press Tool: Texture: Colorize. Its as simple as that. Selecting it in one place selects it in the other as well. It defaults to white.

Select Alpha: Brush 25 for a good spatter type effect 6. 2. the muzzle of the mouth is reddish and the ears have a slightly purplish tint. You just want to cover the surface with color. 6. 3. Painting Basics: Covering The Surface 1. Think in terms of warm and cool color combinations.The best way to learn about painting in ZBrush is to use the Colorized Spray Stroke. Adjust the hue to be yellower or redder or purplish by dragging your cursor in the color selector border around the big block of color. Select the Colorized Spray Stroke Set the color swatch to a dull skin tone or something close to it Set Draw Size equal to 150 Set your model's Tool: Geometry: SDiv to its highest level Select Brush: Std Paint away on your model! In the beginning be very gestural. 4. This is not the stage to be refining or worry about anything beyond covering the surface. Painting Basics: Establishing Color Zones Once you have the surface colored start to experiment with different color zones on your model. 4. Paint away on your model! Painting Basics: Unify It All . 5. 2. If you analyze old master paintings. Lower the Draw Size to 100 or less Increase the brightness of your color in the color swatch by dragging the color selector in the swatch upwards Increase the saturation by dragging the color selector in the color swatch to the right. 5. you'll see that the forehead is usually yellowish. Set RGB Intensity to around 30 or so 7. Follow the steps below: 1. 3. You can see more of a complete tutorial about it here.

:) 3. Press Texture: New Texture 2. Try to use this color as a 'wash' over the model. Try not to over do it or make it too opaque in any one spot. 5. Don't worry.Once you have a good range of color on the model you can begin to pull it all together with a light wash of a very light skin hue. Press Tool: Texture: Col>Txr. . Go as near white as you can. Set Texture: Width to 2048 2. follow the steps below: 1. Create a texture at the size you want for your final map. 2. 4. Set Texture: Height to 2048 3. At this point the texture map will override your polypainting. 3. Select Alpha: Brush 07 Select the Colorized Spray stroke Set RGB Intensity to 10 or so Paint lightly on the model. If its 2048 by 2048. Set the color swatch to a lightish skin hue. Converting Poly Painting into a Texture Map 1. Its still there. 1.

To learn more about Projection Master click here.7 Tutorials An In-Depth Look At Painting In ZBrush In ZBrush you can texture paint in 2 ways: q q Poly Painting Projection Master In this section we are going to focus on PolyPainting.1 Control the Shape of Your Brush with Alphas s 1.4.6.1 PolyPainting r 1. Congratulations! You have now completely textured a model.2 Control Your Brush Stroke r 1.3 Set Up Your Model For PolyPainting r 1.2 Poly to Pixel Ratio r 1. When you want to convert your new painting onto a texture map simply repeat steps 1 through 3 above.4 Painting With Your Sculpting Brushes s 1. It will simply overwrite the information that was there before.1 Baking a Texture Map to PolyPainting s 1.If you wish to continue PolyPainting simply press Texture: Texture Off in the texture palette and continue painting.2 Baking PolyPainting into a Texture Map r 1. Contents q 1 An In-Depth Look At Painting In ZBrush r 1.5 Using a Texture Map to Paint with in ZBrush r 1. You can use the same texture.4. If you do not have UVs you can create them inside of ZBrush by pressing Tool: Texture: AUV. To learn more about using UVs with PolyPainting visit the Polypainting page. PolyPainting .6 How Do I Work With A Texture Map in ZBrush? s 1.6.

somewhat more. To see an example of PolyPainting check out the First Painting page. Instead of repainting a new. It has a total of a little over 4 million pixels. then in terms of surface painting. larger map. (Actually. and then transfer that detail to a texture map when the painting is complete. which provides reasonable resolution. Similarly. Set Up Your Model For PolyPainting .Polypainting allows painting on a model's surface without first assigning a texture map. larger texture map.) So. with no rework necessary. and the painted surface can be transferred to the map. If one unwrapping proves unsatisfactory. you can put all of the painting details directly onto the model's polygons. since significant parts of texture maps are typically left blank. with polypainting. first consider a 2048 by 2048 texture map. A texture map can be created at a later time. This is particularly valuable if you find you need more detailing on an area than you thought you would. simply create a different unwrapping and transfer the surface painting to that map. The new version of ZBrush is fast enough to handle models with large polygon counts. you can simply transfer the existing surface painting to a new. Poly to Pixel Ratio To understand how polypainting works. simply assigning each polygon a uniform color gives the same amount of information as the 4 million pixel texture map. Removing UVs from your model frees up system resources and allows you to work with more polygons. the UV unwrapping need not be fixed in advance. If you work with a 4 million polygon model. Polypainting offers significant advantages compared to standard workflow: q q q The resolution of the texture map need not be decided in advance.

Make sure to have a back up OBJ file if you wish to use those UVs again. or to view your polypainting. This means that if a texture is active. get a model. 4. First. Subdivide the mesh to get the number of polygons needed to match the map resolution you have in mind. ZBrush gives precedence to textures over polygon colors. While painting. When rendering. This will delete your UVs. 5. then any polypainting you've done will not be visible. For this description. we'll assume that you don't need your UVs and can add them at the end of the process. ensure the selected texture is the Texture Off. Paint the model. Working without UVs will allow you to use more polygons and get more detail out of your model. using alphas. You can always reimport them at the end of the process. Press Tool:Texture:Disable Uvs. Painting With Your Sculpting Brushes You can PolyPaint with the same tools you use to sculpt with: q q q Alphas Strokes Masks Simply enable PolyPainting by pressing Tool: Texture: Colorize and turn RGB on in the shelf. delete your UVs from your ZBrush model. polypainting a model and producing a texture map is a simple process. Of course. Whenever possible. Remember to turn on Tool: Texture:Colorize before starting to paint. you can sculpt at the same time you paint. etc. It is off by default.Remember three points when using polypainting: q q q Polygon colorizing is enabled in ZBrush when the Tool:Texture:Colorize switch is on. With this in mind. Once RGB is on you are ready to start painting! Control the Shape of Your Brush with Alphas . masking. 1. 3. Set your subdivision level to 1. so remember to turn it on before starting to paint. 2.

To select an alpha you can do two things: q Click the large Alpha thumbnail to the left of the canvas and choose an Alpha from the pop-up window. To learn more about Alpha Controls visit the Alpha Palette page. Using a Texture Map to Paint with in ZBrush To PolyPaint with a texture map you must delete your UVs by pressing Tool: Texture: Disable UVs. If you have UVs ZBrush will display the texture map on your model instead of letting you use it to PolyPaint with. Make sure you are at the lowest subdivision level when you do this. The ZBrush approach for working with a texture map is as follows: 1. You can create new uvs when you are done PolyPainting by pressing Tool: Texture: Auv. For sculpting. Bake texture map into PolyPainting . How Do I Work With A Texture Map in ZBrush? PolyPainting works directly on the surface of your model. ZBrush will keep the changes you made to the UV but reverse any change the imported OBJ made to you model's geometry. Press Tool: Import to Import your OBJ with your Uvs made from outside of ZBrush 3. Press Tool: Morph Target: Switch to switch back to the previous geometry state. You can import your UVs again after you have finished painting by following these simple steps: 1. To learn more about Alphas visit the Alphas page. Each is useful for a different task. Control Your Brush Stroke ZBrush has several different Stroke types available for the artist. Drag Rect and the Freehand stroke are very useful. or q Open the Alpha Palette. It will only show you the controls that you can use. click the large thumbnail of the Alpha and choose an Alpha from there. ZBrush's interface is context sensative. To enable PolyPainting with a texture map simply delete your UVs. Some of the strokes to the right are not visible while 3D sculpting. Press Tool: Morph Target: Store MT to store a Morph Target 2. the Dots stroke.You can control the shape of your sculpting by using an Alpha. In the First Painting section we learned about the Colorized Spray stroke.

skip this step. Press Tool: Texture: Clr>Txr Done! Tutorials Using Photoreference Retrieved from "http://www. Note: If you want to paint on a texture map in ZBrush you must use Projection Master. You will only want to import your UVs and not your mesh. At this point the texture map will override your polypainting. Baking a Texture Map to PolyPainting 1. Layout UVs in your other application. :) 3. 5. Privacy policy About ZBrushInfo Disclaimers . Divide the model so that its polygon count is close to your texture's pixel count. Set Tool: Geometry: SDiv to 1 2. Set your model's SDiv level to 1. Back in ZBrush. store a Morph Target by pressing Tool: Morph Target: Store MT. If you want to learn the math. Load the Model 2. 4. If its 2048 by 2048. Its still there. Baking PolyPainting into a Texture Map 1.info/docs/index. will be different. simply restore the Morph Target. 6. Create UVs inside of ZBrush 1. Bake PolyPainting back to a texture map. If not. Your UVs only use 70% or less of that space so the pixel count is close to 3 million.php/Paint_It%21" q q q q q This page was last modified 03:15.2. This page has been accessed 71 times. 2. Set Texture: Width to 2048 2. Do you have UVs? If yes. Don't worry. 3. 7. 1. Load the Texture 3. To do this. Paint using ZBrush's 3D sculpting and painting tools 3. follow the steps below: 1. Press Texture New Texture 2. here is some info: a 2k texture map has 4 million pixels in it. 4.zbrush. Press Tool: Texture: Txr>Clr Your done. Tool: Morph Target: Switch. Import your model by pressing Tool: Import. If you don't want to learn the math behind this just divide it as far as you can. Set Texture: Height to 2048 3. Export mesh by pressing Tool: Export. Press Tool: Texture: GUV or Tool: Texture: AUV 4. at SDiv level 1. Create a texture at the size you want for your final map. Create UVs outside of ZBrush 1. you have two options. If you have sculpted moree since you laid out your UVs your mesh. 29 June 2007.

A model composed of multiple objects is one that has two or more polygon objects that are not connected.Working with Multiple Objects From ZBrushInfo You can work with multiple objects in ZBrush two ways: q q Polygroups SubTools Contents q q q q q 1 What Are Multiple Objects? 2 Keeping It Separate: The Polygroup Option 3 The Polygon Count Variable 4 HD Geometry and Polygroups 5 SubTools What Are Multiple Objects? What do we mean by multiple objects? A model in ZBrush is composed of polygon faces. That is to say. they do not share any connected polygon faces. .

4. This model is composed of many other parts such as boots. q To learn more about Polygroups click here. Import the new part. Export them all as one single OBJ. For the DemoSoldier they are all separate SubTools but they could also all be one SubTool and simply be separated by Polygroups. In ZBrush. import the OBJ. The vest does not share any polygons with the shirt. Do you have levels of resolution? If you do not have levels of resolution follow the steps below: 1. what happens if you find that you forgot a part and need to add it in? This is easy to do but there is one variable. In your other application. we recommend that you use Polygroups.A practical example is the DemoSoldier that ships with ZBrush. If all you need is a way to keep track of your model's various parts. Select the Tool: Polymesh tool. 5. Press Tool: Polygroups: Auto Groups. Now. Divide the model and start sculpting. vest. 2. Polygroups give you a direct. The shirt does not share any polygons with the body. The important element here is that they are separate polygon objects. you find that you need more polygons see below. ect. They will keep you mesh as one surface so that Transpose can be used to pose all the various elements together. They can be turned on and off by pressing CTRL+SHIFT and clicking on them in the viewport. select all the parts of your model that you want to use in ZBrush. 2. visual indicator of your groups. however. Press Tool: Import and navigate to the part you want to add to the . Keeping It Separate: The Polygroup Option If you are importing your model from another app follow the steps below to make it ready for Polygroups: 1. backpack. shirt. This is a star shaped polygon object. 3. If.

detailed creature we can begin to run into the barrier of our polygon limits. ZBrush has several ways for you to adjust your workflow based on your polygon needs: q q HD Geometry and Polygroups SubTools As of this writing.model. That's it! You have added a new part to your model. 3. . Equalize the levels of resolution. 4. This is a star shaped polygon object. Either way. 2. Re-select your original model from the Tool palette. 1. Press Tool: Import and navigate to the part you want to add to the model. Press Tool: Geometry: InsertMesh and choose the new part from the pop-up window. This will bring it in as a separate model for now. Add the new part to the existing model. we may find ourselves with a need for more polygons. 3. Divide the new part so that it has the same number of resolution levels as the existing mesh. Add the new part to the existing model. Press Tool: Geometry: InsertMesh and choose the new part from the pop-up window. Re-select your original model from the Tool palette. Some times our systems are just not fast enough to work with the polygon count that we want or perhaps our operating system limits the amount of RAM we can use. HD Geometry does not translate into displacement maps so if you need to get your sculpting detail out of ZBrush and into another application you must use the SubTool method. This will bring it in as a separate model for now. Import the new part. 4. The Polygon Count Variable When working with multiple objects or even large. The only step we added was to equalize the levels of resolution. If you have levels of resolution we will modify the process slightly. 5. Select the Tool: Polymesh tool.

info/docs/index. Use Polygroups to keep your different objects separate. If your system handles 8 million polygons and you have 4 SubTools then your model can be composed of 32 million polygons. This page has been accessed 1. q Learn more about SubTools here. q Learn more about Polygroups here. This is more polygon information than SubTools are capable of. SubTools also provide an easy to see visual outliner. hide or show groups. q Learn more about HD Geometry here. however. separate. 29 June 2007. Polygroups allow you to easily select. You can NOT sculpt or pose multiple SubTools at the same time.zbrush. Each SubTool can be equal to the maximum number of polygons your system can handle.php/Working_with_Multiple_Objects" q q q q q This page was last modified 17:32. SubTools are. SubTools SubTools are separate polygon objects.139 times. Retrieved from "http://www. Privacy policy About ZBrushInfo Disclaimers .HD Geometry and Polygroups HD Geometry allows your model to go up to 1 billion polygons.

. The Tool:Layers submenu manages layers. The Layers submenu. Artists are able to work with a model at many different stages of development simultaneously. part of the Tool menu. q q Each layer in the Tool:Layers list of layers functions as a single variant of the base mesh geometry.3D Layers From ZBrushInfo Introduction Layers allow for a non-linear workflow. Layers allow creation of new subtools based on the difference between the base mesh and the mesh contained in a layer. Artists can add details such as a reptile's skin scales then turn those details off and refine the major forms underlying them.

and with 'bullet hole' layer turned on (right). is the currently selected layer. The base mesh is not a layer. without committing to a single sculpt. All models start with no layers defined. if it exists. To create new layers. All layers are in one of three states: q The Live layer.q Layers can be used to test out ideas for models. the first thing to do is to get that model up on the screen and ensure you are in 3D Edit mode. . Layer Controls Layers are stored on a per mesh basis. neither the base mesh nor any other layer is affected. The live layer is highlighted in green. use the Tool:Layer:New button.To apply layers to a model. The effects of this layer on the base mesh are shown onscreen. In addition. Base mesh (left). any sculpting done when there is a live layer affects only that layer.

3. Turn off visibility for the layer you want to remove information from Store a morph target by pressing Tool: Morph Target: Store MT Select the morph brush Turn the visibility back on for that layer Paint out the area you want to remove Retrieved from "http://www. 15 June 2007. Erasing Layer Information You can erase information in a Layer by using a morph target and the morph brush. If you want to remove the layer and the sculpting from your mesh. To do this take the following steps: 1.q q A layer that is On does affect the appearance of the model onscreen.809 times. but sculpting does not affect an On layer. If you wish to bake the layer into your sculpt. 2. 4. turn off the visibility of the layer by pressing the eye icon and then pressing Tool:Layers:Delete. simply press Tool::Layers:Delete.zbrush. 5. Layers that are ON have an eye icon in their title A layer that is Off does not affect the appearance of the model onscreen. This page has been accessed 18. Layers that are OFF do not have an eye icon in their title. Privacy policy About ZBrushInfo Disclaimers . and is not affected by any sculpting.info/docs/index.php/3D_Layers" q q q q q This page was last modified 18:45.

You can tell ZBrush which part of the model you want to extract in 3 ways: q q q Masks Visibility Layers Each of these tools isolate one part of the mesh from the rest of the mesh. whatever your character may need! Contents q q q q q 1 How Mesh Extraction Works 2 Mesh Extraction with Masking 3 Mesh Extraction With Visibility 4 Mesh Extraction Using Layers 5 Mesh Extraction Reference How Mesh Extraction Works Mesh Extractions works by separating a part of one model and. then create a new mesh with smooth clean edges. It also 'cleans' the edge of the extracted mesh to create a smooth. in a sense.Mesh Extraction From ZBrushInfo Mesh extraction is a fast and powerful way to create new parts to your model. even boundary. Using existing geometry you can quickly and easily create a jacket. When you press Mesh Extraction. gloves. a helmet. In order to create the smooth edges it will occassionly have to insert triangles and shown in the far right of the image below: . ZBrush will calculate the boundary of the selected area. duplicating that as another mesh.

Mesh Extraction with Masking Lets look at how to create new geometry by painting masks. In this image we see the mask painted onto our character that we will turn into a flak jacket. without much concern for the edges. to ensure smoothness. . In this example we will create extra elements for a soldier character. ZBrush will insert extra polygons at the edges of the extracted mesh. Masks can be drawn quickly.

If necessary. . To lasso a selection as shown below: 1. Lassoing (left) lets us easily hide everything except an area of the shoulder (middle). Hold down Ctrl-Shift while dragging out the selection. press Ctrl-Shift+M to toggle from standard select to lasso mode. The new mesh is a subtool of the full mesh. we can simply hide everything except a section of the warrior's shoulder. if so desired. and pressing Tool: SubTool:Extract produces the shoulder-guard (right). and then extract the shoulder-guard with Tool:SubTool:Extract. and can be separated out into a standalone mesh. 2. but it can be worked on completely independently. which can be manipulated independently or separated into a completely separate mesh. Mesh Extraction With Visibility Start with the shoulder-guard. The new mesh is a subtool of the full mesh. Using the new lasso function.Press Tool:SubTool:Mesh Extract and ZBrush will create a new piece of geometry based on your mask.

the details can be sculpted on in just a few more minutes. Open the Tool: Layer menu. Set the following: {Ctl|Brush:Std}} selected. (This prevents the sculpt from 'fading' as it goes from its center to its edge. by creating a medallion. Start with a polymesh plane.000 polygons. subdivided in this example to about 1. and press Tool:Layer:New. Alpha:Brush 52 (star medallion alpha) selected. .) Draw a stroke out from the center of the plane. Draw:Focal Shift = -100. Mesh Extraction Using Layers Meshes are extracted from layers with the Tool:Layers:Make 3D button. Let's take a look. This will create and make visible a single active layer. Your mesh will be extracted wherever the base mesh and the selection differ. Stroke: DragRect selected.000.With the basics of the shoulder-guard made in a matter of seconds. Draw:Z Intensity = 65.

Also. Tool:Layers:Make 3D: When a layer is selected. extracts a new subtool from the difference between the base mesh and the sculpt in the layer. Mesh Extraction Reference Tool:Subtool:Extract: If a model is masked. slightly darker because it is not the selected subtool. the new subtool will appear onscreen.php/Mesh_Extraction" . Retrieved from "http://www. extracts the visible portion as a new mesh subtool. or if the model is partly hidden. extracts the masked area of the model as a new mesh subtool. The final extracted piece. See the reference for the Tool:Subtool menu for details on other mesh extraction settings. as shown below. See the reference for the Tool:Layers menu for details on other mesh extraction settings. and will be placed in the Subtool menu.Now press Tool:Layer:Make3D.info/docs/index. A new subtool will be created from the difference of the base (flat) plane and the sculpted plane.zbrush.

20 June 2007.214 times.q q q q q This page was last modified 23:48. This page has been accessed 18. Privacy policy About ZBrushInfo Disclaimers .

3 Transposing With Bones 6 Transpose Symmetry . It uses three different elements: q q q An action line is used to move.3 Moving an Action Line Endpoint 2 Posing a Model 3 Moving a Model 4 Scaling a Model 5 Rotating a Model r 5. draw an action line from the shoulder to the elbow. you'd mask off everything but the arm.2 Blurring Masks and Joint Rotations r 5.1 Topological Masking r 5. Contents q q q q q q 1 Understanding The Action Line r 1. those modes functioned as brushes.2 Moving the Action Line r 1. drag the end of the action line that is not the shoulder to rotate the arm. For instance..1 Creating the Action Line r 1. Amongst other things. In the Transform menu. To rotate an arm downward using transpose. An optional mask causes transpose actions to be done only on unmasked areas of the model. and quite a bit more. Scale. or rotate the model or some part of the model. but transpose can do all of what could be done by those brushes. and Rotate buttons control which of the associated transformations the transpose action line actually does. In ZBrush 2. scale. the Move.Transpose From ZBrushInfo Transpose is a new feature in ZBrush that allows you to quickly position. this allows you to easily pose your models.. and then with Transform:Rotate active. pose or deform your model.

Moving an Action Line Endpoint . E or R on the shelf. You can press W. The endpoints of the line will snap to whatever is under them. Its distance from the viewer does not change. The endpoint will move in the plane of the screen.q 7 Other Understanding The Action Line Creating the Action Line q q q To create an action line you must enter Move. Any previous action line will be removed. Scale or Rotate. The yellow circles will resize to indicate distance from the viewer. Then click on your model's surface and drag out the action line. The line is moved in the plane of the screen. click on the yellow rim of the center circle and drag it. Moving the Action Line q q q To move an entire action line. You can also drag the line itself to move it. Drag the outer yellow ring of an endpoint to position that end of the line.

Posing a Model When transpose is used with masked and partially masked objects. Release CTRL. press and hold CTRL then click on the pectorial muscle of the solder and drag towards the deltoid (shoulder muscle) to create a topological mask that isolates the arm. To move an endpoint of the action line to a precise place in a model (for example. Its distance from the viewer does not change. view the model along one global axis (Shift-rotate the model so it 'clicks' into a perpendicular view) and center the endpoint properly in that view. then do the same thing while viewing along another global axis. . including the ability to quickly achieve realistic poses of humans and creatures. it gives you a huge amount of power in creating your scene. Here's a quick look: With Rotate pressed on the shelf. click on the yellow rim of an endpoint and drag it. The endpoint is moved in the plane of the screen.q q q To move an end of the action line. to be precisely at a joint).

click on the end point and pose the forearm. This will create an action line. Draw another action line.Click on the shoulder and drag downwards towards the hand. Redraw the topological mask for the forearm. Click and drag the end point to pose the arm. . To do this press and hold CTRL then click on the bicep of the soldier and drag towards the forearm.

Draw another mask for the wrist area. . Clicking on the end points moves the model on a fulcrum. Click on the center dot to rotate the hand around the action line. Draw another action line and move it inside of the wrist so that the hand will rotate from the center of the wrist. Clicking on the center point rotates the model around the axis of the action line.

Let's draw another mask for the arm so we can rotate the entire arm upwards towards the head. Click and drag on the center point to rotate it along the action lines axis Click and drag on the end point to raise the entire arm. .

q Ensure that Transform:Move is active before doing anything. where the vertices of a model are moved relative to a coordinate origin defined by one end of the action line. .Moving a Model Action lines use a generalized move operation. This allows for scaling and shearing.

click and drag from inside the midpoint of the action line. Note: Shift-drag constrains the move to be along the action line. q To scale or shear the object. The other end will take the role of the origin of the coordinate system. The point underneath the click will be moved to follow the mouse. in the plane of the screen. click and drag from inside an endpoint of the action line. which produces a scaling or shearing effect. Scaling a Model Ensure that Transform:Scale is active.q To move the entire object. . All other points in the model will be moved proportionally within the coordinate system defined by the action line.

q To scale the model uniformly: r Drag the center of an endpoint. r Drag away from the other endpoint to scale the model up. r Drag towards the other endpoint to scale the model down.) .q Set up the action line. r The non-dragged endpoint serves as the origin of the scale (the model point under that end will not move as the model is scaled.

the model will be scaled along all three axes. q Drag the center (inner red circle) an endpoint to rotate the model around the other endpoint. In addition. but those parts of the model nearer the dragged endpoint will be affected much more strongly.q To scale the model in the plane perpendicular to the action line: r Click and drag from the inside of the midpoint of the action towards an endpoint. holding down the Alt key when scaling can be used to achieve special types of scaling: q q When dragging from an endpoint. For example. you could lengthen the legs while leaving the rest of the model largely unchanged. then Alt-drag from the midpoint to scale the torso and head and produce a more "hulking" model. Rotating a Model q Ensure that Transform:Rotate is active. but the effect will be much greater between the midpoint and the most recently used endpoint. by Alt-dragging the feet endpoint of an action line that goes from a model's head to its feet. the model will be scaled along the axis of the action line. click on the head endpoint. . For example. r Dragging towards the other endpoint will thin the model (not shown). r Dragging towards one endpoint will thicken the model (as shown). When Alt-dragging from the midpoint.

q q Ensure Transform:Edit is active and one of the Move Scale. For most models. fingers. etc. this makes it easy to mask limbs. or Rotate modes are active. Topological Masking Topological masking allows you to create masks that flow along a model's geometry.q Drag the center of the action line's midpoint towards the endpoint to rotate the model around the action line. Ctrl-click-drag on a small portion of your model's unmasked surface. .

Blurring Masks and Joint Rotations Another new mask feature allows easy adjustment of mask intensity gradation around areas of your model that might undergo significant distortion. and the non-masked area.q The mask will follow the line you drag out. q When you release the mouse button. the edge of the mask will be smoothed. such as a knee joint when the lower leg is rotated into a pose. This is mask blurring. More smoothing can be applied by Ctrl-clicking on a masked portion of the surface. which allows you to easily widen out and smooth the area of partial masking between the fully masked part of a model. .

Transposing With Bones Transpose also has a mode that provides. Create a control line with one end at the joint. and see if the results are OK. A setting in transpose preferences allows setting how much blur occurs with each click. 3. Additional Ctrl-clicks will blur the mask further. if needed. 5. 1. Rotate the limb. 2. blur the mask. 3. and the other end at the other end of the bone (or whatever) being rotated. 4. Define a mask on your object. Mask blurring makes adjusting joint rotations quick and easy. If not. and try again. Ctrl-click on any masked area. undo the rotation. 2. See figure at right for . Do this a few times if you need to. a more accurate model of how skin folds on and displaces itself. The edges of all masked areas will be blurred. Set up a mask so the boundary between the masked and unmasked surfaces is at the joint.To apply partial masking: 1.

Transpose Symmetry Transpose Symmetry allows the artist to get into and out of pose while retaining their high resolution details! Transpose Symmetry frees the artists to begin posing their sculptures earlier in their sculpting process. get into and out of pose easily and transfer all your high rez sculpting from your base sculpt to your posed sculpt. the end of the line for your sculpture.e. in current workflows.php/Transpose" q q q q q This page was last modified 23:44. In this new workflow.info/docs/index. Transpose Symmetry breaks down this barrier allowing you to pose your sculpt earlier in your workflow. Privacy policy About ZBrushInfo Disclaimers . posing happens earlier in your workflow and does not have to be a one time deal at the end of the line for your model. Retrieved from "http://www. on the masked area of the model. pose the sculpt and then sculpt asymetrical details.zbrush. This should not include the area where you want the skin to slide. i. you can not return to a base sculpt to further sculpt your model. To use this mode: 1. 27 June 2007. Position the action line to represent the bone above where you want to bend your sculpt. see the transpose preferences. Occasionally. 3. The pose is. in this workflow. you can go back and forth as many times as you need. Mask or hide the areas of the mesh you don't want to effect. However. an artist may want to sculpt with symmetry on while the sculpture is posed.379 times. Using current workflows artists sculpt a base shape. In fact.a comparison. Press and Hold Alt then click and drag left or right on the end of the action line. Sculpt symmetrical details like fabric weave on your pants while in your base pose and then transfer that sculpting to your posed sculpt! Other For settings affecting transpose mode. This page has been accessed 30. 2.

Go Tool:Rigging:Select and select the mesh that you want to rig. First. 3.2 A few tips to keep in mind: r 1. Then "preview" your high resolution mesh by going through a few steps that will all be automated in one of the next betas. It works superbly for bends such as knees. Make sure that it is at a low level of resolution. It is currently being redone to comply with subtools and reworked to give the artist more control over rotation and weighting. elbow and chest.Rigging From ZBrushInfo Contents q 1 Rigging r 1. The low resolution is rigged and posed. Step By Step Let's look at the steps: 1. it does not give you control over rotations such as rotating a wrist. draw a ZSphere on screen and go into Edit mode. . The positions of the ZSpheres are important but are not the only determiner for the effect on your skinning. You do not want to rig the highest subdivision level. Create more ZSpheres by clicking on the ZSphere in the center. however. To rig a model you start with the lowest (or at least a relatively low) subdivision level.3 Preview your high-rez details on a posed mesh: Rigging Rigging in ZBrush is fast and simple.1 Step By Step r 1. 2.

it should be off) and try to reposition some of your ZSpheres. and a ZSphere above it for the ribcage.397 times. For a typical humanoid. To have this happen every time you press A you have to sculpt some small brush strokes after you press Shift and click on the Preview button. If the weighting is not right. If this step is not done or is undone you will not preview your high rez mesh. you will want a ZSphere below the root for the hip. Press Shift and click on the Tool:Adaptive Skin:Preview button. 4. 5. :div>:div> Retrieved from "http://www. Press A to preview your low-resolution mesh in that pose. A few tips to keep in mind: q q q Arms should be around 45 degrees or more away from the body. Privacy policy About ZBrushInfo Disclaimers .php/Rigging" q q q q q This page was last modified 18:07. your mesh returns to your bind pose. 3 January 2007.zbrush. Preview your high-rez details on a posed mesh: 1. press Bind. Otherwise they can get caught up in the ZSpheres for the spine. Pose your model using Rotate or Move. unbind the mesh by pressing Bind again (it should not be orange after this. Set Tool:Adaptive Skin:Density to the same number as the maximum levels of resolution for the mesh you are posing. 4. This page has been accessed 4. When your skeleton is completed.Make sure that the root ZSphere is somewhere near to what is usually the center of gravity of the model--an area that doesn't bend sharply itself. When you turn Bind off. Create your skeleton 2. Press Bind once you are ready to test the weighting again.e. i.info/docs/index. 3. ZBrush is using an automatic weighting solution so check your mesh to see if it is weighted correctly. This will preview your high rez mesh.

Win The Polygon Lottery With HD Geometry! From ZBrushInfo Contents q q q q q 1 HD Introduction 2 HD Levels vs SDiv Levels 3 HD Geometry Controls 4 Using HD Geometry 5 Rendering HD Geometry HD Introduction HD Geometry is the next evolution in Sculpting. . HD Geometry allows you to divide your model to 1 billion polygons while only taxing your system with the polygons you are using onscreen.

up to a level your system can comfortably handle. Pressing it will result in a preview of your sculpted model. but keep the portion of the model that is being worked with at any time to a size that leaves your system reponsive. you can perform HD subdivisions (as discussed below).HD Levels vs SDiv Levels HD sculpting is an extension of subdivision sculpting. If you need further subdivision levels beyond that. you must activate it with its hotkey to perform HD sculpting. you first do regular subdivisions of the model you are working with. Using HD sculpting. These add polygons to your model exactly as for normal subdivision. HD Geometry Controls Make sure to read the description for the Sculpt HD button. .

then a circular region will be shown around the mouse when a is pressed. RadialRgn: If on. so will have different widths and heights. but at a smaller portion of your model at one time. if off. Use whichever is most suitable for your needs. your model will be rendered with all HD sculpted details shown. Much higher than has been previously possible without a complex workflow. but the HD sculpt mode will not actually be turned on. They will both contain the same number of polygons. it selects an area of your model around the current mouse position for highdefinition sculpting. Once you add HD subdivision levels to a model. we'll look at sculpting an elephant's skin in extremely high detail. In fact.DivideHD: Adds an additions level of HD subdivision to your model. and by the actual number of polygons that need to be displayed as set by SculptHD Subdiv above. Conversely. a square region will be shown. Using HD Geometry In this section. Sculpt HD: This button is normally activated using the a hotkey. but don't allow you to sculpt the finest possible details. This can only be done when Tool:Geometry:SDiv is set to its maximum value. Higher values let you sculpt at higher levels of detail. When activated with the hotkey. This area is determined by the maximum number of polygons that can fit into your computer's memory at any time (set in Preferences. with HD Geometry you can keep your mesh one solid piece and sculpt up to 1 billion polygons. you cannot add or delete 'standard' subdivision levels from that model. . If you press this button with the mouse. SculptHD Subdiv: Controls the HD subdivision level being shown (if you have done more than one level of HD subdivision). lower values give you access to more of the model.

000. This level of detail . Sculpt this section of the mesh as normal. Tool:Geometry HD:DivideHD three times until it's divided to 44 million polygons. Then. Here is some quick sculpting on the 10 million polygon side of the elephant. A circular area around our model has been selected. hover our mouse over the area we want to sculpt and press the a key. We press. our elephant is subdivided to about 700.In this example. The selected area of the model comprises about 10.000 polygons — the number is determined by MaxPolyPerMesh.000 polygons.

Rendering a model with subtools is best done using this [HD Render All zscript]. If your render shows 'holes' in the model turn on the Tool: Display Properties:Double button and render again.would be extremely hard to obtain using bump maps and normal geometry. The entire model is again displayed with the approximately 700.info/docs/index. the high-definition sculpt we just did is retained and will appear again when we re-enter Sculpt HD mode.000 polygons we originally subdivided it to. It must be placed in the ZScript folder of your ZBrush directory. Rendering HD Geometry To render your HD Geometry press the Sculpt HD button or press the a key while the cursor is positioned away from the model. The zscript preserves perspective settings.php/ Win_The_Polygon_Lottery_With_HD_Geometry%21" . Retrieved from "http://www. When we are done. If it is placed in ZStartup/ ZPlugs then ZBrush will not launch. HD Render All is a ZScript. However.zbrush. press the a key again to exit Sculpt HD mode.

This page has been accessed 66 times. 29 June 2007.q q q q q This page was last modified 03:16. Privacy policy About ZBrushInfo Disclaimers .

Using the new projection feature you can shrink wrap your new topology to an existing model. If ZBrush is closing holes that . The setting that determines how many unconnected vertices that ZBrush will close is Max Strip Length. Let's look at how to create new topology. When creating topology in ZBrush you do not have to close all of the polygon faces. Step By Step To create a new topology we use two new submenus: Rigging and Topology.Topology From ZBrushInfo Contents q q q q 1 Introduction 2 Step By Step 3 Convert To Main Feature 4 Importing Topology From Outside of ZBrush Introduction Using ZSpheres. creating new topology in ZBrush is simple. ZBrush will automatically close many of these polygon faces for you.

The orange circle represents the active vertex. This will addressed in future updates. ZBrush keeps the previous vertices active which allows you to more quickly build up poly faces on your model. 7. 2.. In the Topology submenu. Turn Symmetry on and click on the model to begin creating new geometry. 4. Press A on the keyboard or Tool:Adaptive:Preview to see the new mesh. Select the model that you want to retopologize from the popup window. You can also use the topology option to create a new mesh such as armor or a helmet or something of that sort. set this number to 4. 2. If you plan on doing this it may be good to delete the mesh from the rigging palette (Press Tool:Rigging:Delete). all ZSphere chains must be connected to the base ZSphere that is active when you enable Edit Topology. When you are done. Just create the topology and press Make Adaptive Skin. First. 5. they will not be converted to normal ZSpheres. Note. You can then import this into your model as a subtool.. If you are creating armor or helmets you may want to use the Skin Thickness slider to give your new mesh some depth. If it is not loaded you can press the Load button at this time.you do not want it to close. If they are not. When you close a poly face. your cursor may not show up until you click on the model. press Edit Topology. First. Go to the rigging tab and press Select. Convert To Main Feature The Convert To Main feature has some very cool functionality. 6. You could also keep it as a ZSphere model if you want to edit the topology later. 1. Designed to enable the surface rigs that were shown in '04 it has other uses such as creating vines on a character or a tree or many other things your imagination might come up with. 3. The steps are as follows: 1. Draw your ZSphere on the canvas. draw a ZSphere on the canvas go into Edit mode. . press Tool:Adaptive Skin:Make Adaptive Skin. Go to Rigging and select the mesh you want to draw on top of.you tell us! To use Convert To Main there are a few things you have to keep in mind.

Importing Topology From Outside of ZBrush You can also bring topology in as an OBJ.000 poly limit on the base mesh. The steps for this are below: 1. Make sure that the base ZSphere is selected or that the root of your ZSphere chain is connected to it. From here you can add them to another model as a subtool. Press Tool:SubTool:Append and select the newly imported model that represents new topology 6. right now there is a 25.985 times. Press Ok to drop your model to canvas 2. This is the tool with the geometry you want to change. If you want to push or pull points you can clear the mask that is automatically created by pressing Tool:Masking:Clear.3. Select the ZSphere you used earlier 12. Make sure they line up correctly 7. Begin drawing new topology on your model. Note. 11. Press Tool:Rigging:Projection 16. When you are done press Convert To Main and unpress Edit Topology. 9.zbrush. This page has been accessed 19. Your topology lines will now be ZSpheres that you can edit and adjust. Retrieved from "http://www. Press Tool:Import and select OBJ 4. 24 May 2007. Since the new topology is the active SubTool it will bring that in instead. Press Topology:Edit Topology. 4. Press Edit Topology 14. 5. Press Layer:Clear to clear the document 3. 13. Select the old model you want to retopologize 5. In the Tool Palette select the model that has the design sculpt and new topology sculpt as SubTools of each other 10. Select a ZSphere and draw it on the canvas 8.info/docs/index. Select the Simple Brush in the Tool palette to avoid ZBrush importing one model into another. 15. Press Topology:Select and select the previous tool. . Press Tool:Adaptive Skin: Preview 17.php/Topology" q q This page was last modified 22:58. Press Tool:Rigging:Select and select the design sculpt from the pop up window. Adjust Tool:Adaptive Skin:Rez to a higher leve to get more polygons on your new mesh. Make the new topology sculpt the active SubTools by selecting it in the SubTool area.

q q q Privacy policy About ZBrushInfo Disclaimers .

2 Setting Colors for Specific Control Types 4 General Control Appearance and Behavior 5 Changing the Interface Layout r 5.2 How to Move Elements Around r 5.1 Areas for Customization r 5.1 Setting Colors Affecting the Entire Interface r 3.Interface Customization From ZBrushInfo by Matthew Yetter Contents q q q q q 1 About Interface Customization 2 Saving and Loading Interfaces 3 Changing the Interface Colors r 3.3 Building User Menus About Interface Customization .

Restore Standard UI: Reverts ZBrush to the factory state. Any interface element may now be moved. You can use this feature to save a variety of interfaces that are each tailored for a specific task. Figure 1 shows the complete Preferences:Config menu.ZBrush 3 introduces powerful new interface customization features. This interface will be loaded every time ZBrush is launched. Ctrl+Shift+I is the shortcut for this.cfg and will overwrite the existing copy of that file. This discards all changes that have been made to layout and colors during the current session. (You will probably find it useful to remember that the shortcut for this command is Alt+Ctrl+Shift+I) Load Ui: Allows you to load any previously saved custom interface (color and layout). These interfaces do not load when ZBrush is launched. entire new menus can be built to hold these elements. Changing the Interface Colors . Restore Custom UI: Reverts ZBrush to the launch state. showing how the interface can be completely transformed to meet certain needs or tasks. The buttons here serve as inventories for the interface itself. making it possible to redesign the ZBrush interface however you see fit. but are always just a few mouse clicks away. Saving and Loading Interfaces The first interface customization menu to become familiar with is Preferences:Config. The saved file will always be named CustomUserInterface. even if that item does not exist when ZBrush launches. It discards all changes that have ever been made to layout and colors. Here’s how they work: Store Config: Saves the entire interface (color and layout) in its current state at the time that the button is pressed. Additionally. The Rapid UI is one example of what is possible. Save Ui: Allows you to save a named custom interface (color and layout).

Icolors (shown in Figure 2) contains the modifiers that control every aspect of ZBrush’s coloring. Your modifications can be broad such as .

You can then repeat the process for any other patches that you’d like to adjust. moving the Red slider toward the right will tinge ZBrush to be more red.cfg files. The interface will immediately update to show the results of your change. That one is just a placeholder to avoid having an empty hole in the menu. Once satisfied with the color choice. click Preferences:Icolors:Save Ui Colors and save out a file called DefaultColors. This will make it easy to revert to ZBrush’s original coloration at any time by pressing the Load Ui Colors button and browsing to this DefaultColors. regardless of what broad-color changes have been made. please provide the user with two . as well as Hue. select a new color using any of the selectors found in the Color menu. First. Setting Colors for Specific Control Types Above the sliders is a series of color patches. So if you wish to share both layout and color. This button essentially bakes your settings into the interface. This means that adjusting the sliders affects the interface relative to its current state. Starting with Preferences:Icolors:Red. Holding down the Ctrl/Cmd key and mousing over any patch will give a detailed popup description of what that patch controls. So if you set Red to 29. The sliders are all initially set to the middle value. It should be noted that the SubOpacity1. For example. This makes it easy to always see the base colors that have been set for the interface. With these sliders you can affect individual Red. Before doing anything else. these sliders are used to modify the interface as a whole. . Changing a color patch is a two step process. This standardization will allow other people to easily adopt the new layout and choose for themselves whether or not to use the new colors as well. Once satisfied with your settings. or very specific with setting individual colors for every type of element. One thing that you might notice is that these patches always ignore any modifications that have been made via the color adjustment sliders – even if you’ve clicked the Apply Adjustments button. it helps to follow these simple rules when creating interfaces that you plan to share: Use Preferences:Config:Save Ui only when ZBrush is set to the default color scheme. Moving it to the left makes the interface less red (which is the same effect as increasing both the Green and Blue sliders together). As you adjust these values you will notice that the sliders stay at the point that you move them to. For standardization.shifting the tint more toward blue. it will stay at that setting until you change it again. These patches (all 40 of them!) each set the base color for a different aspect of ZBrush’s interface. SubOpacity2. Setting Colors Affecting the Entire Interface The bottom half of the Icolors submenu is a set of sliders. This will update the Color:Main Color patch. Intensity and Contrast. click the Preferences:Icolors:Apply Adjustments button. This means that you can continue to tweak and modify these sliders relative to the interface’s starting color state. Green and Blue values. Note: The only color patch that has no effect at all on the interface is the one labeled as “Unused”. All of the sliders will therefore immediately snap back to the midpoint (zero) value.cfg file. Any further adjusting of the sliders will be relative to the state that the interface was in when you clicked the Apply Adjustments button. who want to completely customize the interface beyond what’s possible with the color adjustment sliders alone. click the Icolors patch corresponding to the interface element that you wish to affect. Use Preferences:Icolors:Save Ui Colors any time you wish to share a color scheme. Highlight and Gradient sliders are not tied together with the color adjustment sliders and Apply Adjustments button. This is for the real control freaks out there.cfg. Aside It’s very easy to share custom interfaces with your friends and coworkers. Saturation. setting a new starting point.

(A pulldown menu is what you get when you click on a menu’s name in the list above the canvas.cfg file which will only contain the color modifications. press Ctrl+Shift+I (or Preferences:Config:Store Config) to store the new colors as part of ZBrush’s startup configuration. click the Save Ui Colors and save out a . If you have a very . I recommend doing two things.Once you have created a color theme that you’re satisfied with. you’ll always be able to apply your favored colors to any interface configuration. the popup help text does a great job of describing the functions of these buttons and sliders. I’ll therefore only comment on a couple of the settings here: Buttons Size: This affects more than just buttons. That way.) For example. but has nothing whatsoever to do with colors. First. It actually affects the relative width of all interface elements. General Control Appearance and Behavior The Preferences:Interface menu (shown in Figure 3) mostly contains controls that affect how the interface behaves during use. Second. Buttons Size is an appearance modifier. Where a setting’s name is not self-explanatory. This is actually a new feature of ZBrush 3: colors are easily saved and loaded separate from layout configuration files. most of which relate to pulldown menus. It’s therefore found in this menu instead of the Icolors menu. It does also have a few items that affect appearance not related to coloration.

as shown in Figure 4: Figure 4: The various places where interface elements may be placed. A good example of this is action is clicking on a submenu name to open that submenu. A value of 1 means that any change will take one full second to become fully visible in the menu. any changes take place without fading. Some of these sections are specifically for the purpose of holding interface elements. . making it appear as though the submenu is fading into existence. Of course. The interface as a whole is divided into several overall sections.high display resolution. With a setting of 0 you will watch the submenu scroll open. any partial setting of this slider will let you see both the scroll and fade effects interacting with each other for a more complex effect. and even create new menus. Changing the Interface Layout Areas for Customization Now that we’ve looked at how to change the appearance of your interface. But if you operate with a really low display resolution (such as the minimum of 1024x768) you can set this slider smaller to create additional room for the canvas. This is how you move interface elements from one place to another. you may wish to increase this slider in order to make the interface elements a little larger. it’s time to examine changing the layout. At a value of 0. the submenu fades into view more slowly than the scroll effect takes place. With a setting of 1. The trays are on the extreme left and right sides of the interface. Document Fade: Sets the fade time in seconds of changes made in the menus.

so it would also be accurate to say that. or one above the other (in the case of the top and bottom shelves).q q q Trays can only hold complete menus. the menu will move to the top of its “preferred” tray. How to Move Elements Around . which will always appear in the collapsed state until clicked on. You can even stack items side by side (in the case of left and right shelves). The only thing that can go in this area are menus. Shelves are expandable areas that completely surround the canvas. “The AAHalf button is located on the right shelf. They are usually prefaced with a side of the canvas. Only individual interface elements may go here. this interface layout hides most of ZBrush’s menus and also incorporates a few custom menus. Each tray can be opened and closed independently of the other. (This preference is programmed into ZBrush and can’t be changed.” Each part of the shelf will automatically expand to accommodate the largest item currently placed on that side of the canvas. Since it was designed for extreme simplicity. the only menus that are visible are those that have been placed in the custom menu list. “The AAHalf button is located on the shelf. Menus and submenus may not be placed on a shelf. as well as being used to expand and collapse the trays. If both trays are open. When you release the handle. Separator bars divide trays from the rest of the interface.” All four sides together are often referred to collectively. such as stating that. A good example of this area in use is the Rapid UI.) To move a menu to a specific tray – or even a specific place within a tray – click and drag on the handle. With the Menus button turned off in the title bar. the menu will be placed in the tray just above whatever other menu it had been over. The custom menu list is located immediately above the status bar. You can move a menu to a tray in one of two ways. The fastest is to simply click on its handle as shown in Figure 5. The menu will automatically move to the top of whichever tray is currently open.

or remove the previous item prior to placing the new one. 2. With Ctrl held down. Menus are moved to the custom menu list or rearranged within it by dragging on the menu’s name rather than its handle. you could conceivably rebuild the entire ZBrush interface! The first step to using this feature is to turn on Preferences:Custom UI:Enable Customize. These rules will quickly become second nature as you work with them. Moving an item from a master menu to an invalid location will have no effect. The master menus (those that are built into the default ZBrush UI) may not be modified except through ZScripts or plugins. Once that has been turned on. can only have menu items placed side by side (as opposed to one above another). . The custom menu list. 3. 6. Moving an item from a custom location to an invalid location removes it. Doing so activates the remaining options in the Custom UI menu. To enable layout customization. you hold down the Ctrl key to tell ZBrush that you want to move items around. With this feature. This is especially true for the shelf areas. This makes it impossible to accidentally move anything around or delete it from the tray. however. You may not drag items to move them around within/between these menus or to remove items from them. all interface elements except menus are locked in place. ZBrush tells you that you’ve found a valid location for an item by drawing a bounding box around the location as you get close to it.By default. 4. This is not something that you want to do. For example. you simply click and drag an item to move it to its new home. You should always place items adjacent to each other. 7. Building User Menus An amazingly powerful feature of ZBrush 3 is the ability to create your own menus. and even place submenus within them. It’s a very straight-forward and logical system. 5. Moving an item over another item already on the shelf or custom menu list will cause an overlap. dragging the SwitchColor button from the left shelf onto the canvas will remove it from the shelf completely. Most valid locations will expand to accommodate items that are too large to fit the current size. There are several rules that apply here: 1. you must turn on Preferences:Custom UI:Enable Customize as shown in Figure 6.

The exception to this is if the menu shares the same name as one of the default menus. As a general rule. The first item placed in a menu will automatically go into the upper left corner. without need. you can also rename it at any time by Ctrl +clicking on its title. Once created. it really isn’t a good idea to give a new menu the same name as an existing one. then use that handle to drag the menu to either shelf. creating a custom menu named “Material” would result in two such menus being shown in the master list. Once a menu has been created. For example. Drop the item any place within the box to place it there. while the new one will be placed between the Transform and Zoom menus. and the first will be pushed to the right or down depending upon available space. This is shown in Figure 7. Menus are filled according to normal reading order. Placing items within user menus is as simple as Ctrl+dragging them from another menu. type the desired name. A popup box immediately appears. in which case it will be treated as if it’s named “User”. and so forth.To create your own menu. Figure 8: Filling a menu with interface elements. then click the OK button. from left to right. This is only temporary. In other words. the only way to remove a menu is to restart ZBrush without saving the configuration. it appears at the far right of the master menu list. Elements can be full size. Click on the name of the user menu to expose its handle. Placing the menu into a tray and then removing it from the tray will cause it to be ordered alphabetically relative to the other menus. Once placed in a tray. The next item will go to its immediate right.) After a menu has been created. it must be moved to a tray before you can place items within it. Click in the text entry field. asking you to name the new menu. When the item approaches the user menu. The exception to this rule is if you place one item on top of an existing item. (Don’t go creating menus willy-nilly. a bounding box will appear. then from top to bottom. . One thing that will help is to understand that the size of all interface elements is calculated in fractions of one. Figure 8 shows this at work. The original Material menu will be ordered alphabetically. click Create New Menu. The new item will take the first one’s place.

After you have placed an item into it. The Preferences: Custom UI menu provides several of these in various sizes. 1/2 and 1/4 widths with occasional exceptions that are 1/3 width or some other value. . you can rename the submenu by Ctrl+clicking on its name. Another item that can be placed in your menu is a submenu. The default interface element (such as a button) is 1/8 in height. Alternatively. Additional items may then be dragged into this submenu. To place one of these separators. the submenu will be named “Untitled”. Drag the item called Preferences:Custom UI:Custom SubPalette and place it into the menu that you’re building.meaning that they take the full width of the menu. they also come in 3/4. Initially. simply drag it out of the Custom UI menu like any other interface element. All combinations are possible. Figure 9 shows a submenu placed within a custom menu. Sometimes for aesthetic or organizational regions you may find it desirable to place a separator into your custom menu. all the way up to a maximum size of 1x1 (such as the preview found in the Draw menu). which become available whenever Enable Customize is active.

Alternatively. you can drag select menus into the custom menu list. Figure 11 shows how this was done with the Rapid UI interface. turn off the Menus button in the title bar to hide everything except those menus that you’ve specifically placed in the custom menu bar. you can! Modify the interface to fit your own personal needs and workflow. Want to take the Tool: Layers and Tools:SubTool submenus out of the Tool menu and make them independent? As shown in Figure 10. . The first option is to leave them in the master menus list. and in any order. The options are virtually limitless. a custom version of the Layers menu will not work correctly if the order is anything other than “3D Layer 0” above “3D Layer 1” and then “3D Layer 2”.With these tools together.) Custom menus may even be built using buttons that are created via plugins. etc. This is a convenient way to hide all but the menus that you want to be available in your interface. (One note about the SubTool and Layers submenus: They feature a scroll bar with several initially blank slots alongside. you can build complete menus with all the functionality of the default ZBrush interface. For example. They can be placed anywhere within the available space. Once you have arranged the list to your satisfaction. The only remaining thought is what to do with these custom menus once you’ve created them. They’ll always be available to you here. the slots must be inserted in numerical order alongside the slider. In order for these to function properly.

Once satisfied with your interface.zbrush. You will then be able to load it manually using Preferences:Config:Load UI or through the Ctrl+L shortcut. Privacy policy About ZBrushInfo Disclaimers .php/Interface_Customization" q q q q q This page was last modified 05:47.info/docs/index. If you simply want it to be available as an alternate layout. and only shows those menus that were placed in the custom list.Figure 11: The Rapid UI interface hides the master menus list. Retrieved from "http://www. 21 June 2007. use Alt+Ctrl+Shift+I instead. which will be loaded every time you launch ZBrush. press Ctrl+Shift+I to set it as your custom user interface. This page has been accessed 1.628 times.

The intensity of a mapped pixel is interpreted as a height above the polygon.4 Summary of Object Space and Tangent Space Normal Maps r 5.3.2. up to a certain maximum.1 Surface Normals with Specular and Reflective Lighting 4 Bump Maps and Surface Normals 5 Normal Maps r 5.3.2.2 Normal Map Generation s 5.3.4 Cavity Shading Bump Maps Bump mapping is a technique that allows a flat polygon to presented as if it had more geometric detail.3 How Does Your Application Distinguish Between Tangent and Object Space Normal Maps? s 5. and Normal Maps From ZBrushInfo This section is an accompaniment to ZBrush/ZMapper. For example. This is accomplished by applying a grayscale texture map to the polygon. .3. Contents q q q q q 1 Bump Maps 2 Displacement Maps 3 Surface Normals and Lighting r 3.1 Representing Normal Maps as Textures r 5. Its purpose is to provide an explanation of the basic conceptual concepts of the normal mapping process.2 Raytracing/Raycasting r 5.1 Object Space Map Uses s 5. Displacement.3 Normal Maps in Tangent and Object Space s 5.Bump.1 Converting From a Bump Map s 5.2 Tangent Space Map Uses s 5. including how it relates to other types of rendering techniques such as bump and displacement mapping.

higher-resolution model is then rendered. Even though the bump map might cause the polygon to appear to have quite pronounced surface bumps or grooves when viewed head-on. As a result. This new. displacement mapping can produce renders which show both correct silhouettes and shadowing of displaced geometry. Displacement mapping is well suited for surfaces containing complex detail that would be difficult and expensive to model with polygons. the displacement map is used to actually change the geometry of the model. but where the displacement is large enough that bump maps would obviously appear fake. new polygons or pixels are produced where the displacement map indicates height deviations from the polygon surface. the profile of the polygon viewed from the side will be completely flat. bump maps are best used to provide detail that is already very flat. For various reasons. This is apparent when a bump-mapped polygon is viewed from the side. For these reasons. such as the dimples in an orange. Conceptually. they are grayscale images. but the geometry of the surface is not changed. bump maps do not generate shadows. The result is different when a final render is done. Displacement Maps Displacement maps can be thought of as extended bump maps. At this stage. since the bump map will correctly reflect light sources from any angle.a pure white pixel might indicate the surface of the polygon. 8-bit grayscale images are usually used for bump maps. and then this new geometry is pushed up to reflect the height of the bump map. Bump maps provide far more realism than simple textures which have been just been painted to appear bumpy. Bump maps give the appearance of features on a surface. with the intensity of a pixel indicating height above the polygon surface. a pure black pixel might be used to specify a height of 1/10" above the surface of the polygon. In addition. Like bump maps. a single grayscale image used as either a bump or a displacement map while building a model will probably produce very similar images when viewed using a "real time" renderer. Other things being equal. . while the simple texture map always appears to be lit from one angle. something which cannot be done by bump maps. and so a 50% gray pixel would mean 1/20" above the polygon.

so they are typically used with software renderers. allowing both decreased overall render times. Credits: ZBrush Forum member 'sunit'. Figure: Combined maps (three images). displacement map. and diffusion map for this figure.5 million polygons in ZBrush: . The high-resolution mesh was 1.) Bump maps and normal maps are both well supported by modern video cards. (This may change in the future. and greater ease of model construction. Rendered with Maya(R). Any of these tools can provide very realistic effects in cinematic and other non-real-time renders.There is currently little hardware support for displacement maps. ZBrush was used to create a normal map.

The low-resolution model was just a little over 7000 polygons. (Shown in Maya): Surface Normals and Lighting A surface normal for any flat surface is simply the arrow (or direction) that points directly out from that surface. The angle between that arrow and any line drawn on the surface from the .

put the eraser end of a pencil on the cardboard. the surface will not be lit at all. The pencil is now a pointer in the direction of the cardboard's surface normal. . Interaction of light direction with the surface normals of a white cube. When a renderer calculates how brightly a light illuminates a surface. and is less brightly lit. The normal of the top surface points close to the light. If a flat surface is oriented so that its normal points towards a light. The normal of the right surface points farther away from the light. If the surface normal points more than ninety degrees away from the light. Put a piece of thin white cardboard on a desk.starting point of the arrow is exactly 90 degrees. The white cube below shows this. Figure: Surface normal for a horizontal piece of cardboard. it (almost always) does it with a simple mathematical calculation involving the angle between the surface normal and the direction of the light. If the surface is turned so that the normal points farther away from the light. Figure: Surface normals and surface brightness. so it is dark. and point the pencil straight up. The normal of the front side points more than 90 degrees away from the light. that surface will be lit brightly by the light. and so that surface is the most brightly lit. it will become darker.

being lit by one spotlight. rather than scattered perfectly in all directions.All of this may seem obvious. with one person in the audience. without changing the actual surface orientation at all. where the surface being lit is assumed to scatter incoming light equally in all directions. This makes no difference as long as the surface normal does in fact point straight out from the surface. Images reflected in a mirror or off the surface of a still pond are examples. This is the basis of normal mapping. This average direction is easy to visualize. Imagine you are on a stage. but surface normals can also be used to calculate specular lighting. the specular brightness depends on the angle between the surface normal and the average of the direction between the light and the camera. Now point halfway between the person and the spotlight. Basically. But if we simply give to the renderer a different value of the surface normal. the direction to the camera issurface normal usually means whatever . Specular lighting is a model that assumes light is reflected with some degree of directionality. we can change the apparent intensity with which the surface is lit. but there's an important point here: Lighting calculations are done using the direction of the surface normal. which produces the highlights on smooth or semi-smooth surfaces such as the bright spots on a billiard ball. and is discussed in detail in the next section. and hence the apparent orientation. We won't go into details. this can be handled with normal maps. not the orientation of the surface. It's specular lighting having no (or negligible) scattering. That's the average direction between your viewer and the spotlight. Reflective lighting is a special case of specular lighting. For realism. diffuse lighting. Again without going too much into details. Surface Normals with Specular and Reflective Lighting The previous explanation actually applied to just one type of lighting model. Another common type of lighting model is specular lighting. From a point on the surface. reflections are often computed differently than specular lighting. with the aid of a reflection map.

each area is lit with a different intensity. The following examples will use lighter colors to indicate higher areas on the bump map. not the mathematical meaning. The surface below is a single flat quadrilateral. either by hardware or software) before being drawn on screen. since brightness is calculated as a function of the angle of the normal to the light direction. but some applications may do exactly the opposite. Note: The steps below are a conceptual presentation of how bump maps are converted . To see this in action let's look at a single row of pixels from a bump map. not its mathematical. Figure: Normal perturbation and effect on lighting. The concept is still the same. Bump Maps and Surface Normals Let's talk a bit about surface normals as they relate to bump maps. As a result. The surface normal in each area for the purposes of lighting calculations (shown by the arrows) is a perturbation of the true surface normal for the quadrilateral. Each section appears with greater or lesser brightness as a result.direction is used when doing lighting calculations. dividing it into four smaller sections. divided into four areas. Bump maps are actually converted to normal maps (invisibly.}} This process can be illustrated by taking the top face of the previously shown. and in other sections of the paper. you understand normal maps. In a rendered image. form. From now on. and changing the surface normal in each section. If you understand this process. even though the surface is completely flat. this can give the illusion that different areas of a surface are at different angles. we'll use the graphics meaning. the phrase is also used in its graphics.

It's often easier to create a bump map via painting than to model the detailed geometry with polygons. the normal to that curve is calculated. Figure: Pixel row from bump map. The resulting surface normals associated with each pixel. viewed from the side. This shows how (in concept) pixels are raised in height according to their color. and at each coordinate. looking down. In addition. A full two-dimensional bump map would result in three-dimensional normals. Also. the example below creates two-dimensional normals (pointing in the x-y directions). The same bump map. Renderers or hardware may accomplish this in different ways. The lengths of the normals are not meaningful in this example. the bump map height information is discarded. A curve is fitted to the resulting profile. viewed from the side. compared to . Once these have been calculated by the hardware or software. bump maps significantly speed the rendering process. Figure: Resulting normals assigned to pixel locations. A row of pixels from a bump map. Figure: Converting bump intensity to bump height and normals. and the normal directions--which are all that matter for lighting calculations--are retained. Lighter colors represent higher elevations in this map.to surface normals.

A normal map is just a map (texture) where the values given are the surface normals at each point. only normal directions. rather than the bump height value. No height is shown because the normal map does not store any height information. even though the polygon is perfectly flat. 16 pixels wide. using the heights given by the bump map. This makes things slightly easier for the graphics processor. normal maps have certain technical advantages over bump maps. In particular: . This normal then interacts with light sources to produce the illusion of bumps or other surface irregularities. we know that a bump map is processed by calculating a surface normal at every point on the mapped polygon. It is a cross-section of a normal map. In the case of hardware. Cross-section of a normal map sixteen pixels in width. Instead of having graphics software or hardware calculate surface normals from the bump map. this can allow the presentation of bumpy surfaces while still animating in real time. and then used directly by the processor. Adjacent normals are completely independent of one another. though that isn't usually important. Normal Maps From the preceding section.rendering a model with a polygon count high enough to represent the bumps geometrically. Figure: A Row of Pixels in a Normal Map. More importantly. so to speak. No height information is contained in the normal map. It just stores directions to be used as surface normals when lighting calculations are done. We're taking out the middleman. which in many instances can lead to better surface detail. The figure below shows this. these normals are pre-calculated and stored into the normal map.

we need to store these three coordinates at each pixel in the map. . y. Standard 32-bit images (such as used in many image processing programs) contain four channels of data. since they do not refer to absolute world distances.q q q Bump or displacement maps require a specification of the world unit dimension indicated by the map intensity. and one for the alpha (which is usually used for transparency). bump maps can be created (somewhat) easily by hand using a 2D paint application. Because the normal at each pixel in a normal map is completely independent from its neighboring normals. usually called the x. Representing Normal Maps as Textures A normal is just a direction in space–a vector with three coordinates.) This may require adjustments when transferring such maps from on program to another. a simple trick is used. the height displacement between the maximum and minimum values of a bump map must be specified in world coordinates such as inches. This is quite different from bump maps. the alpha channel is ignored. When used in this way. In a normal map. and this must be done for every bump map. while still being able to do everything that can be done with bump maps. The x. One result of this is that normal maps are not suited for creation by hand. Each of these channels is 8 bits wide. (In other words. where normal direction is given by the intensity difference between nearby pixels. green. Now every point in the image has a normal direction associated with it. On the other hand. which is not case with normal maps. and normal direction is indicated by color in the normal map. but visualizing the exact effect or constructing the map by hand is difficult because of the interplay of the color channels. depending on requirements. and z coordinates of a vector at a given point can simply be stored in the red. one for the red component of the pixel. and z coordinates. the general "shape" of what will appear on the rendered surface is apparent.) You will find each useful in your creations. To create a normal map. one for the green. Instead of defining a new file format just for this. and blue channels of the pixel at that point. y. (See below. one for the blue. meaning each of them can store one of 256 distinct values. This is not necessary for normal maps. normal maps can produce effects not possible with bump maps.

cube mapped with either in the center. The left wall is a normal map of a brick surface. Converting From a Bump Map . ZBrush's multiple subdivision level editing can also be used to generate normal maps in a different manner. and the center cube shows how surfaces would render when either map is applied. Figure: Normal and Bump Map Textures and Render Normal map (bluish) on the left. The small differences in bump height over small areas make the bump map look 'smooth'. with more accurate results. as the grayscale intensities correspond to bump height--though it is very difficult to visualize the exact effect without a render.) Normal Map Generation This section discusses various ways of generating normal maps. the right wall is an equivalent bump map.Constructing a bump map by hand is at least possible. but it could still be painted with an appropriate brush to give an almost invisible graininess to the texture. The normal map actually shows the grain of the brick surface much better than the bump map. but the necessity of getting the right color at each pixel makes it almost impossible to paint by hand. (Both the normal map and the bump map will produce the same visual result when rendered. bump map on the right. Raytracing is the dominant conceptual model of normal map generation and is the focus of many of the normal mapping tools that have appeared recently.

in normal maps through simple conversion of bump maps. one advantage that normal maps have compared to bump maps is that while bump maps require additional information describing how the bump intensity range maps to global space distance units.) The raytracing method projects rays (the thin solid arrows below) from the surface of the lowresolution mesh (thick lines) to the surface of the high-resolution mesh (thin curve). The normal direction at the end of each ray is used as the normal vector value in the normal map UV coordinate at the start of the ray. Bump maps do not carry such information. . Normal maps also contain implicit information about object space. conversion of bump maps is likely to be easy only when the map is one for a flat surface. normal maps do not. and the like. Bump maps cannot express as much directional information as a normal map of the same resolution. and so the visual effects available from a converted bump map may not be as striking as those available from a normal map constructed directly. If you are finding this to be a disadvantage when working with bump maps. instead of taking the time to construct new normal maps. and we won't go into them here.One of the easiest ways to generate a normal map is to calculate it from an existing bump map. There may seem little reason to do this. this method allows you to use existing bump maps. Raytracing/Raycasting A useful way of thinking about normal map generation is the idea of raytracing. to which they are similar. As a result. There are disadvantages as well. but as was mentioned before. The terms come from the raycasting and raytracing methods of rendering. Other cases may be more problematic. There are various tools to do this. (Both words are often used in describing this particular technique for normal map generation. or raycasting. such as a wall. converting to normal maps may well make sense. tangent space. As well as being very simple when it is applicable.

the normal (perpendicular) to the highresolution surface is calculated at that point. depending on the tools used to do this. Normal Maps in Tangent and Object Space A normal map specifies the direction of surface normals at points on polygons throughout the model. do we mean up towards . This may involve ensuring that the mesh rotations are completely identical.Figure: Raytracing Rays (solid arrows) are projected from the low-resolution surface to the high-resolution surface. and so on. if we say a normal is pointing up. The most important of these is how points on the low-resolution surface are associated with points on the high-resolution surface. One way of doing this is to simply create two otherwise unrelated meshes having the "same shape" as each other. however. Conceptually. The subdivision relationship between the high-resolution mesh and the low-resolution mesh is used in matching areas of the surface. and to fit the low-resolution mesh inside the high-resolution mesh to generate the map. Achieving this degree of conformance can be extremely difficult for meshes with any type of shape complexity. This reduces and in many cases eliminates the problems described in the previous paragraph. and then applied to the low-res surface as the surface normal at the origin of the initial ray. such as arms with hands and fingers. this is fairly accurate. At each point a ray intersects the high-resolution surface. that all parts of the low-resolution mesh are inside the high-resolution mesh. but it leaves out a great many details. but normally uses a different scheme to map points from the first mesh to the second. Direction is relative. ZBrush can use the raycasting method.

The result is that the light intensity on the . The figures below show the effect of this when a (very simple) mesh with assigned surface normals is deformed[11]. This is not what you would expect with "real world" lighting. Figure: Effect of Deformation on Lighting with Tangent Space Normals As in the previous figure. each is assigned a different object space surface normal. one of the two squares has been rotated clockwise. In the first case (using object space normals). making a flat surface. so intensity with which each is lit is different. On the right of the figure. A normal map which assumes that up is straight up in the model coordinate space is said to be in object space. regardless of the rotation of the right polygon. Figure: Effect of Deformation on Lighting with Object Space Normals On the left of this figure. The second figure shows how tangent space normals will change direction along with their surfaces. or up away from the surface of the polygon? In normal mapping. The lighting intensity on each surface remains the same. its brightness does not change.the top of the model. In this case the normals are defined in tangent space. and illustrates why object space normal maps are not what you want to use if your mesh will deform. while a normal map which specifies directions relative to the faces of the polygons to which it is applied is called a tangent space normal map. and give the expected changes in surface brightness. Because both normals are defined in object space. meaning that whenever a surface changes orientation its associated normal changes direction along with it. two adjacent squares are on the same plane. maps can be created using either type of direction. For lighting purposes. because its normal direction does not change with the polygon. the square with the normal labeled 'B' has been rotated clockwise. even as the rightmost polygon changes its orientation. their directions remain the same with respect to the object (which itself has not been rotated). and so to the light source.

blue becomes the dominant color. but not deformed. "away from the polygon" means that the z coordinate at that point will always be a positive number. or gouges or wood grain in the door. as a normal pointing "behind" the polygon would have no meaning. Object Space Map Uses Object space normal maps can be applied to any object in which the orientation of the polygons relative to the model does not change. Object space normal maps are easy to generate. and will likely require little if any tweaking to achieve the desired effect and to remove artifacts. But in a tangent space map. using the normal map to generate the details of the blade and pommel of the sword. Since the z coordinate of a normal map is stored in the blue channel of the normal map texture. scaled. Terrain. dueling swords or a door swinging open could be shown very effectively with an object space normal map. or rotated. while object space maps typically exhibit a full spectrum of colors. bas-reliefs. furniture. The reason is that in either type of map the normal will point "away" from the polygon. This typically means any rigid model. One interesting effect of these two different interpretations of the normal map coordinates is that tangent space maps always appear "bluish" in color. Generating an object space map using ZBrush is simply a matter of selecting the appropriate . They are also computationally quite efficient. The model may be moved.rotated surface changes as one would expect.

Given how commonly ZBrush is used for organic modeling and how often these models will be deformed. you will likely be generating mostly tangent space normal maps. This is more a matter of the fact that working with deforming meshes is always more complex than working with rigid meshes than it is of the conceptual differences between the two types of normal maps or differences in the way they are handled by ZBrush. and then inform your application how to interpret that map relative to the object it is applied to. Tangent Space Map Uses Tangent space normal maps can be applied to any object. This is simply a matter of choosing the relevant option in ZMapper. setting a checkbox. while an object space map will usually have a full range of colors). tangent space normal maps require significantly more computational power to render (though it's difficult to predict how much this will affect performance in practice). How Does Your Application Distinguish Between Tangent and Object Space Normal Maps? There's a simple answer to this one. Certain object space maps could look bluish in the same way as a tangent space map. A normal map is just a 2D picture where colors represent directions. Instead. . or various other methods. Depending on the application. In addition. you will simply generate whichever type of map is most appropriate for your model. Compared to world space normal maps. this may involve using different shaders. It's usually easy to distinguish the two visually (a tangent space map will be predominantly blue in color. but even this is no guarantee. your application doesn't. but are required with models that might be animated or deformed (other than through simple scaling). Details are given in other sections.option in the ZMapper plugin. they may require quite a bit more tweaking to give you the desired end effect in other applications or renderers.

Object space normal maps are only useful with rigid bodies (unless you are trying for some truly psychedelic effects). the . A major advantage of normal maps over bump maps is that normal maps are not given in terms of distance. and hence do not require adjustment for changes in distance units from one application to the next. since it occurs even in diffuse light where shadows aren't cast. and ambient occlusion is in turn the visual effect that we all see (but rarely notice) when looking into shallow crevices. Tangent space normal maps can be used with either rigid or deformable objects. It is cavity shading. q q q q Cavity Shading We'll briefly mention one more rendering aspect here. the direction indicated by a pixel in the map is taken to be relative to the surface of the polygon to which that pixel applies. and then back out. The computations needed to use a world space map as an object space map are trivial. It has more to do with the fact that as light is reflected into a recess. In an object space normal map. You may see references to world space normal maps. since it can be incorporated into normal maps by ZMapper. You'll normally generate object space normal maps for rigid models. q q Tangent space and object space normal maps are simply 2D images where colors are interpreted as directions. the direction indicated by a pixel is given in terms of the object's coordinate system. but you may find it a convenient summary. but to rendering software or hardware they are simply maps. they're darker. but have a higher computational overhead than object space normal maps.Summary of Object Space and Tangent Space Normal Maps There's nothing in this section you haven't seen before. It isn't really shadowing. and generally there is no need to use world space maps. You'll specify explicitly in your application whether a map should be applied as an object space map or a tangent space map. Cavity shading is a method for implementing an 'ambient occlusion' effect. In a tangent space normal map. Humans can usually visually distinguish object maps and tangent maps (tangent maps will appear bluish). These are simply object space normal maps where the "object" is the entire world. but are faster to render than tangent space normal maps.

Rendering it later will require no more data. then the data necessary to accomplish the cavity shading can be put directly into the normal map.649 times. 27 June 2006. This has nothing whatsoever to do with normal maps.zbrush. it is much more important that ZMapper does include cavity shading as an option.info/docs/index.php/Bump%2C_Displacement% 2C_and_Normal_Maps" q q q q q This page was last modified 22:53. The mathematical details are of interest only to the analytically inclined. Retrieved from "http://www. and this is discussed more thoroughly in the ZMapper instructions. Or.intensity of the light becomes lower due to absorption by the surface of the recess. to put it another way. and no more time. if cavity shading is calculated at the same time a normal map is generated. Privacy policy About ZBrushInfo Disclaimers . From an artistic viewpoint. that would rendering with a normal map that did not include cavity shading. This page has been accessed 4. except that it turns out to be easy to modify normal maps to include this effect.

Displacement Exporter From ZBrushInfo Contents q q q q q q q 1 Introduction 2 Download 3 Installing the Displacement Exporter 4 Using the Displacement Exporter 5 Using Multi Displacement 2 6 Quick Qodes 7 History Introduction Displacement Exporter contains many innovative features such as the ability to convert a displacement map into a normal map. 8dot8 separates out major and minor forms into two different maps that can be added together at render time. 8dot8 allows you to use 8 bit displacement maps to achieve results similar to what you achieve with 16 bit displacement maps. or 32 bit RGB or grey-scale maps. can flip your map as well as have access to the innovative 8dot8 file export. You have full control over each channel. 16 bit. To use 8dot8 turn the status of Major8 and Minor8 . From this plug-in you can export 8 bit.

Multi Displacement 2. Choose your settings 6. Launch ZBrush 4. Multi Displacement 2 & Documentation Here (MAC) Installing the Displacement Exporter 1.to On. ADE4. Click Export Current to export out the map . The Multi Displacement 2 will bake real-world coordinates (and remove the need for the Alpha Depth Factor) into your 32 bit floating point maps for models that were imported into ZBrush. Select the alpha in the Alpha palette 3. The plugin will place two buttons in your Alpha palette and a new sub menu. 5. You can move the documentation. If your ZStartup directory does not have a ZPlugs folder.PDF. Create a displacement map 2. anywhere you want. in your ZPlugins palette. 3. 2. create it. Download Download Displacement Exporter. Multi Displacement 2 & Documentation Here (PC) Download Displacement Exporter. Using the Displacement Exporter 1. Multi Displacement 2 has been production tested by ILM and other major studios. Move the contents to the ZStartup/ ZPlugs directory. Open the Alpha palette along the top row and there are two new buttons: DE Options and DExporter 4. Extract the zip file to anywhere on your computer. Click DE Options to open the Displacement Exporter 5.

2005: Version A released October 18th. 6. 2005: Version D released Version C changes: Added Multi-Displacement 2 for the Mac Changed tilde key. 2. Using Multi Displacement 2 1. "~" in file name to a dash "-" Version D changes: . 4. 5. 2005: Version C released November 2nd. Click the button and it will export out a map for each option with its Status set to On. Select your model in the tool palette Go to the lowest subdivision level Open the Multi Displacement 2 submenu and choose your settings Click Export options to open the Displacement Exporter Choose your settings In the Multi Displacement 2 submenu click Create All Quick Qodes q q q q q q Maya: DE-LBEK-EAEAEA-R32 3DS Max: XSI: LightWave: Cinema 4D Houdini: History September 22nd.You can use DExporter to automate the exporting of several types of maps. 3.

Privacy policy About ZBrushInfo Disclaimers .zbrush.info/docs/index.Fixed some issues with 32 bit export for the Macintosh Retrieved from "http://www. This page has been accessed 2.php/Displacement_Exporter" q q q q q This page was last modified 20:44.632 times. 26 June 2007.

Integration With Other Apps: ZPipeline Guides (written for ZBrush 2) From ZBrushInfo Introduction ZPipeline guides walk the artist step by step through the process of integrating ZBrush with the leading 3D animation packages.zbrush.php/Integration_With_Other_Apps: _ZPipeline_Guides_%28written_for_ZBrush_2%29" .info/docs/index. Guides q q q q q q ZBrush to Maya Online ZPipeline| PDF ZBrush to 3ds Max | PDF r In Turkish! ZBrush to Lightwave | PDF ZBrush To Softimage XSI| PDF ZBrush to Cinema4D | PDF ZBrush to Blender (contributed) Terms of Use Related Links q q q q Autodesk Lightwave Softimage Maxon Retrieved from "http://www.

q q q q q This page was last modified 03:17. 29 June 2007. Privacy policy About ZBrushInfo Disclaimers . This page has been accessed 41 times.

For a command reference. You can find full examples of zscripts in ZScript Examples. you'll be able to understand ZScript concepts easily.info/docs/index. slightly out of date.) ZScript_Examples ZBC ZScript Utility Forum ZBC ZScript Help Forum Retrieved from "http://www. see the ZScript Command Reference. The remainder of this page discusses ZScript concepts.then statements. ZBrush's built-in scripting language.. or to add new abilities to ZBrush. such as variables.zbrush. ZScript Directory q Hotkey Editor Resources q q q q q q ZScript Basics ZScript Command Reference ZScript Command Reference (older. but does require a basic knowledge of programming constructs. and functions/procedures. loops.php/ZScript" . ZScript is simple to understand.ZScript From ZBrushInfo Introduction A zscript is a ZBrush program written in ZScript. if.. You can use zscripts to automate common tasks. If you know even the basics of almost any other programming language.

This page has been accessed 4.266 times. Privacy policy About ZBrushInfo Disclaimers .q q q q q This page was last modified 17:20. 13 April 2007.

Always remember that unless Render:Flat Renderer or Render:Fast Renderer are active. transparency.5 Modifiers: Editing Materials r 1.2 Material Quick Palette r 1.3 Rendering r 1. and its material. The ZBrush Material palette gives you a great deal of control over the appearance of object surfaces by letting you specify various surface properties such as shininess. color only (RGB) or material only (M). the color you see will not necessarily be the color that you paint! Or to put it another way: Material + RGB (either color or texture) = Shaded RGB (displayed color) . and the 3D objects. using numeric settings as well as interactive graphs. You can use materials with any tool that adds pixols to the document. including the 3D brush. and reflectivity.4 Types of Materials r 1.7 Mimic Materials 2 Transparency Introduction to Materials In ZBrush.Materials From ZBrushInfo Contents q q 1 Introduction to Materials r 1. the Sphere brush.6 Using Curves r 1. the way a surface looks is the result of a combination of factors. Remember also that the Draw palette allows you to paint with a combination of material and color (MRGB). the lighting.1 Using the Material Palette r 1. including its base coloring or texture.

Like many other palettes in ZBrush. found in the Layers palette. This because materials are 'procedural'—they are calculated on the fly and as a result of where points of a surface are in 3D space. but it can allow some interesting artistic possibilities. or change the depths of pixols. if you use a particular material to create pixols. . The Bake function. The active material is shown in the large thumbnail in the upper-left. You can see the full selection of available materials by clicking the active material. Several other useful materials are shown in smaller thumbnails in the rest of the main palette. which works like others in ZBrush such as those in the Tool and Texture palettes.” In other words. you might need to use the Render:Best Renderer mode to see changes. either its large or small thumbnail in the main palette. the Material palette shows only some of the available materials. Note: ZBrush has a special feature that lets you combine the appearance of materials on a surface. ZBrush materials are always “live. and then modify that material later. or to modify it on the fly. This gives you the opportunity to adjust your objects so that materials appear as you would like on the object. any pixols that use that material will change in appearance to reflect the modified material. you can switch the active material to one of these by clicking its thumbnail. One other aspect of the 'liveness' of ZBrush materials is that if you move an object.Also. Not only does this allow you to easily change your mind regarding a material at any time. This opens the pop-up icon menu shown below. with certain materials. any materials applied to them will appear to "move" along the surface. "bakes" any material effects on all surfaces into the document as the Flat material (material 00). which reflects any changes you make to the material while editing it.

Whatever you draw will use the current material. however. click its thumbnail. When you choose a material that doesn't appear in the main palette. and it's still floating in the document (that is. press W to enter Move mode). .To see the name of a material. and then start drawing. If the material list gets too long for your preferences. Of course. Projection Master allows you to paint materials onto areas of the surface of a 3D object. choose a tool that creates pixols. Remember that you must have either MRGB or M active in the Draw palette for the material to be painted! If you choose a different material. anything you draw after switching materials will use the new material. Or you can choose a different material. In additon. The main palette expands as necessary to accommodate the displayed thumbnails. hold the mouse cursor over its thumbnail for a moment until the label appears. and then activate a transform mode. you can restore the palette’s inventory to the minimum number of shown materials by clicking the 'R' button. If. it's made the active material. and then choosing another material. Using the Material Palette The most straightforward way to use the Material palette is to choose a material. you activated Transform or Edit mode immediately after drawing the object). you draw a 3D object such as a sphere. To choose a material. The new material is then applied to the floating object automatically. such as the 3D brush or a 3D object tool like Sphere3D. and its thumbnail is added to the main palette. under normal circumstances nothing changes in the document. you can change its material by first activating a transform mode (for example.

The active material is shown in the large thumbnail. Click the Load button to load a new material from a disk file into the active material slot. When loading a material from disk it completely replaces the active material.zmt) format. For example. Thereafter you can replace the active material with the saved material with the Load function. which reflects any changes you make to the material while editing it. When you make modifications to this material it is placed in a separate section of the palette to signify that it is no longer a default material. To see the name of a material. not only in the palette but in all Pixols that use that material. you won't see the full effect of the ColorizeGlow material unless you're using Best Renderer mode. hold the mouse cursor over its thumbnail for a moment until the label appears. To choose a material.Materials are depicted accurately in the document when you're using the default Preview renderer. You can save time by rendering part of the document in this way: Drag the Cursor button from the Material or Render palette to the area you want to render. in the Quick Palette. A number of material files are included with ZBrush (located in the ZMaterials folder). and you can create and save your own with the Save function. or until you render the document. Click the Save button to store the active material to disk in the ZMaterial (. click its thumbnail. . with a few exceptions. Material Quick Palette The Materials quick palette shows all 76 available materials.

to best-render only part of the document (a 128x128-pixol square). predefined ambient and diffuse (specified in Render:Modifiers:Fast Renderer). The only surface properties displayed in this mode are a global. so be sure to activate Preview Render mode to see all surface properties (such as Specular. drag the Cursor button to the new area. feedback can be slow. . use the Fast Renderer mode in the Render palette. Preview Render is the default render mode. Thereafter. Note: If you work in Best Renderer mode on a floating object. Alternatively. can be seen only in Best Renderer mode. changing the material properties updates the bounding box of the floating object rather than the entire document. click the Render button at the bottom of the Modifiers sub-palette. In such cases. click on and drag the Cursor button to the document area you want to render.Rendering When you're manipulating materials in ZBrush. Flat render ignores all lighting attributes and displays all items without shading information only color and textures are rendered. you normally work in Preview Renderer mode for fast feedback. Or. Noise and Bump). which displays standard lighting and material effects. such as ray-traced Reflectivity. Note: For even faster rendering. at full intensity. Some components. whenever you want to view changes that require Best Renderer. because every time you change any material component the program pauses while it re-renders the document. to render a different area. But if you use that mode all the time. It provides a real-time representation of most painting and sculpting attributes. Fast Render ignores all material attributes and displays all items using simple shading (defined in the Fast Render sub-palette). the same area is best-rendered. and. when you click the Cursor button. stay in Preview mode.

shadows.Best Render displays all available rendering effects. Flat Material The flat material is unaffected by light and so appears incandscent. Types of Materials When you open the Material palette there are 76 different materials. For example. there are only four basic types of materials. including environment reflections. Each effect must first be enabled using the adjustment icons and modifiers. Fiber Material The fiber material adds 3D hair-like strands to the image. transparency. It includes: q q q q Basic Material Double Shade material TriShade materials QuadShade materials These materials contain all the same attributes as a Basic material except that they have either 2. 3 or 4 shader channels. It respects the surface normals of each Pixol and. and more. All the other materials are standard variations. the BasicMaterial has a . Modifiers: Editing Materials First. draws the hairs perpendicular to the surface though you can adjust the material settings. by default. Shaders are effectively procedures that tell pixols or vertices/surfaces how to display 'as they are being rendered'. depth cue. we need to define what a shader is. It is primarily used for modeling purposes. However. Basic Material The basic material is the workhorse material for ZBrush. No gradations of tone and no material attributes FastShader Material The fast material contains only a diffuse and an ambient attribute.

These are not changes in lighting. as shown below: . such as the ReflectCurve modifier. A number of shader settings use two modifiers: a numeric parameter that determines the overall strength of the setting. The result will be a larger graph with which you can work. To open the full curve. You are simply changing the way that the object's surface points respond to the lighting. if a material uses two shaders. that is. and present examples of some of the other modifiers. In this document we'll describe the most common shader modifiers. Most materials in ZBrush use the "basic" shader. you can see several such compressed curves. The basic shader is always the last one.single shader (S1) that allows two different settings. nothing else in the scene will be affected. available in the Modifiers sub-palette via the buttons S1 . compressed version of the curve appears below the numeric modifier in the palette. Changing the Ambient setting will change how lightly or darkly the object is rendered. Each shader is made up of several settings. which is made up of the components described below. click it. A material comprises one or more shaders. plus a curve parameter that lets you use a graph to specify and to vary the strength according to the direction of each affected pixol's surface normal (the Noise curve is an exception to this). Ambient and Diffuse.S4. You modify a material by editing its shader modifiers. When a shaders has a curve modifier. In the palette snapshot at the beginning of this section. while changing the Diffuse setting will change the amount of contrast between lit and unlit portions of the object. then the basic shader is S2.

let's first look at an example that uses the DiffuseCurve to produce two different effects: The curves indicate how strongly the effect is to modified. The center of the effect is not necessarily the center of the object.You modify the sliders and curves as you would any other such control in the ZBrush interface. for example. the center of a Diffuse effect are those parts of an object directly facing (and hence most strongly effected by) a light. with the intial curves being the "standard" effect. from the center of the effect to its outer edge. . Using Curves To understand how modifier curves work.

making the area around the center brighter than it otherwise would be. Finally. the graph creates a fractal pattern across the entire document. which means that part of the sphere is lit normally.In the case of second of the above examples. In the case of Noise. The effect then rises through the next 1/4 of the graph. 'cartoonish' effects can be achieved by using straight line segments in the DiffuseCurve: . and then finally the edge tapers off into darkness as the light source no longer affects that part of the sphere. A fall in the curve below its default value causes a darker 'ring' around the center of the effect. a rise in the curve that brings it more closely into alighment with the default curve makes for a brighter ring. making an object's surface appear irregular: Interesting. the Diffuse effect is not modified at the center of the effect.

and these are described below. or two paired spheres. This can be reversed by setting your Cavity Transition to a positive value..B. At the bottom left of the modifiers shown above is a small icon consisting of either one sphere.. The A controls affect the appearance of normal (flat or raised) areas of the surface. These define material maps for the A and B settings. They all have certain controls in common. Understanding a few key points will let you start using mimic materials immediately and without worrying too much about complex details: q q There are a number of paired controls. Redefining the material maps is a powerful way of affecting the results of mimic material .Mimic Materials Mimic materials allow adjustment of settings to simulate cavity maps and other more complex real-world effects.. while the B controls affect recessed areas (cavities).A or . of the form ..

and you find that the edges of polygons seem to be affected by cavity shading. in the same way that Render:Preview Shadows:Shadow Length does for the virtual shadow light. Intensity. Opacity: Lower Opacity values make the shaded object appear lighter (but do not actually affect the transparency of the object. and changes within a cavity. 0 gives the smoothest changes. This has no effect if Col is white. This setting does not affect the colors supplied by setting the A or B color patches underneath the slider area. i. Dialing the Monochromatic settings higher reduces the coloration. Saturation: These sliders can be used to modify the shading colors from what is provided by the cavity shading environment texture. Monochromatic. (See section on real-time shadows.shading. Depth. the strength with which each is applied to produce the final render. but may also smooth out areas where cavities are being erroneously shaded. In particular.: Best thought of as a way of changing the apparent direction of a light for the given channel.: Controls the intensity of the A or B channels...e. and other values sharpen the transition.. . try lowering this value if you are working with a low-poly model. Cavity Transition: Changes how sharply cavity edges. Hue.. Lower values will result in less cavity "resolution" on your model.: A colored light ball in the mimic material environment (see Mimic Materials) will result in colored shading of the model. are delineated..) Colorize: Changes the intensity with which the color set in the Col color patch (underneath the slider area) applies to the rendering.) Cavity Detection: Affects what counts as a recessed area. and a value of 1 eliminates color from the cavity shading environment for that channel. They can be used when color matching or similar abilities are needed..

Add a layer (Layers palette > Inventory > Create). This feature is on by default. However. it must be in a different layer from the surfaces "below" it. 1.Render: Cursor: Note: All of these settings affect the render of the chosen material's thumbnail (which is visible as the selected material in the material palette). Transparency in ZBrush requires the use of multiple layers. 1. transparent sphere is in Layer 2. This is necessary to see transparency between layers. what's important is that the transparent pixols should be in front of the background image. Checking the shading effect on the thumbnail can help in understanding the same effect on a more complex model. Create the background pixols in one layer. the checkered plane is in Layer 1. The background pixols show through the transparent material. This automatically activates the new layer. follow this procedure: 1. Use a transparent material to create pixols in front of the background pixols. Note: In order to see transparency. 1. and looking at that thumbnail will let you see the effects on a hemisphere. the order of the layers doesn't matter. but prevents transparency from being displayed. you must turn off the Flatten Layers option in the Render: Modifiers sub-palette. Transparency These determine the amount of light that passes through a surface. turn off Flatten Layers (it's the only option on by default). In Render:Modifiers. . while the red. To be able to see through a transparent surface. Using two layers to produce transparency In this illustration. and speeds rendering of multiple layers. You can make any material except Flat Color and FastShader transparent by setting Transparency to a value other than 0. To create transparent pixols.

in the following image.Note: For best results with transparency. The sphere looks opaque where only the blank background appears behind it. the document background color was set to blue. Any blank areas in the document will not show through the transparent pixols. . make sure that checkered plane pixols fill the entire area behind the transparent surface. For instance. transparent sphere was drawn half over the checkered plane and half over the blank background. and then the red.

for a foggy effect. For an even more realistic glass effect. use the default graph. or simply use ZBrush's built-in ReflectedMap material. This causes edges to appear less transparent than the center. Conversely. add reflectivity.For a glass-like effect with your transparent objects. set the transparency to be greatest at the edges. This gives the illusion of reflecting an environment map without incurring the computation penalty of ray tracing. . as in the above images. which replicates the way a real-world glass object bends light more at the edges than at the center. or a close variation thereof. the Transparency graph on the left was used in the sphere's material. In the following illustration. which uses a special shader that reflects an environment map. and least at the center.

while the right-hand sphere's material uses the right-hand Transparency curve. The materials on both spheres have Transparency set to -100. so only the black pixels are transparent. and Reflectivity is set to -100. But the material for the left-hand sphere uses the left-hand Transparency curve Reverse the Transparency graph slope for a foggy material shown below. and the left side affecting the pixols facing sideways. When positive. for example. If you use a curve that's high on the left side and low on the right side. then only the white pixols will be transparent. The left side of the graph determines the transparency of the darkest pixols. ÔøΩ In the following illustration. the spheres are colored with a black-and-white checkerboard texture. With negative Transparency settings. .The Transparency slider setting can be positive or negative. and if you use a curve that's high on the right side but low on the left side. the degree of transparency is based on the value (or brightness) of the underlying surface coloration. only the black pixols will be transparent. so only the checkerboard texture's white pixels are transparent. with the right side affecting the pixols facing the viewer. you have an object whose pixols are colored with a blackand-white texture. the curve works normally. Say. while the right side determines the transparency of the brightest pixols.

This page has been accessed 1.Retrieved from "http://www.php/Materials" q q q q q This page was last modified 19:39.096 times. 21 June 2007. Privacy policy About ZBrushInfo Disclaimers .zbrush.info/docs/index.

Privacy policy About ZBrushInfo Disclaimers .Rendering The Big Picture From ZBrushInfo This page is still under construction.info/docs/index. 29 June 2007.zbrush. Retrieved from "http://www.php/Rendering_The_Big_Picture" q q q q q This page was last modified 21:38. This page has been accessed 94 times. Please visit the Render Palette page for more information.

Render Palette From ZBrushInfo .

6 Environment Subpalette r 1.7 Adjustments Subpalette Controls . color. Contents q 1 Controls r 1.The Render palette controls which methods will be used to calculate the shading of scenes.3 Fog Subpalette r 1. and render-level special effects such as fog and depth cueing are included.1 Antialiasing Subpalette r 1.4 Fast Render Subpalette r 1. and material properties are evaluated.2 Depth Cue Subpalette r 1. Lighting.5 Preview Shadows Subpalette r 1.

. Preview: The default renderer. you can make changes to its material properties and the Best Renderer will re-render only the object and its bounding box. light colors. since it is very fast and shows surface details due to geometry.Cursor: When you drag the Cursor button to the canvas. press Ctrl-R. a sample area centered around the mouse release position is rendered using the Best Renderer. not materials. This makes it ideal for modeling. only basic shading. if you have a floating object in the scene. Shadows must be rendered using this renderer. ZBrush will automatically switch to the Preview Renderer. depth cue and some other effects). Best: Used for the final render. but the Best renderer is significantly better in most situations. the Best Renderer uses the best (and slowest) methods to produce the highest quality image. used when composing a scene. Render: Causes ZBrush to render the entire document with the current settings. It will show most properties of the scene (exluding shadows. Fast: The fast renderer does not render materials. It does show transparency. To re-render the same location after making changes. complex fog. There's one exception to this. Flat: Allows you to see the scene with no shading. If you try to work in the Best Renderer mode. just basic color.

below. See Antialiasing. Used only by the Best Render mode. 0%= flat shading. Used only by the Best Render mode. The properties of the fog are adjusted in the Fog sub-palette. The properties of the depth cue are adjusted in the Depth Cue sub-palette. Depth Cue simulates the blurring that results from an object being too close or too far away from a camera. Used only by the Best Render mode. Activating Depth Adjustments can clean up intersections between multiple objects in your final render. Flatten: When active. At least one light in the scene must have shadow casting enabled also. Used only by the Best Render mode. all document layers are rendered as one layer. This button must be turned off before material transparency effects can be rendered. Used only by the Preview (which displays only basic fog) and Best Render mode. Enable only when needed.3D Shading: Controls the amount of shading in the Preview render. Default = 100% Fog: Click to enable the fog effect. . SoftRGB: Blurs edges in the image to reduce edge artifacts (blockiness). Depth Cue: Click to enable the Depth Cue effect. 100%= fully shaded. SoftZ: Evaluates which material is assigned to each pixol. Default = on. Shadows: Click to enable shadow rendering.

Larger sample sizes produce more blur. 100% will blur the entire image. When displayed in this mode. Range = 1 to 4. Size: The number of pixols evaluated when producing the blur. simulate the effect of a lens that focuses sharply at only one depth. Default = 25%. Range 0 to 100%. A setting of 2 causes four renders. the image will be exported at half size with antialiasing intact. edges. A setting of 0% will antialias only very sharp. press the Zoom:AA Half button to display the image at half size using optimal antialiasing. Edge: Controls at which edge sharpness eges are antialiased. Depth Cue Subpalette Rendering with depth cues is only available in Best Render mode. 3 causes eight renders. Note: The best possible antialiasing is produced by working on a canvas that is twice the final size. Default = 1. Default = 1. This can be used to.Antialiasing Subpalette Blur: Sets the intensity of the blur. Depth cues cause the image to be rendered with different levels of bluriness at different depths. for example. Default = 100%. After rendering. Super Sample: Causes ZBrush to render the same image several times and then average the results for better final quality. Range = 1 to 8. or atmospheric haze that . Range = 0 to 100%. and 4 causes 16 renders.

Range = 0 to 100%. Intensity: Sets the intensity of the blur at its far point. pick an object at the depth where you want the depth cue to begin and release the mouse button. It will be converted to grayscale alpha and stretched over the entire canvas area. The blurring begins as depth increases. Higher numbers produce more blur. There is no blurring at this distance. . Click the Depth Cue Alpha patch to access the texture sub-palette and choose a texture. Range = 1 to 8. Each pixol of the alpha will determine the intensity of the depth cue at that location. Default = 4 Depth1: Depth1 is the near point of the depth cue effect. Softness: The number of pixols averaged to produce the blur. black areas give no effect. Depth Cue Alpha: You can modify the depth cue effect by using Depth Cue Alpha. White areas give the strongest depth cue effect.causes distant objects to appear blurrier. Useful for restricting the depth cue effect to a selected area of the canvas. Default = 100%. Type in the Z depth directly or click and drag from the slider to the canvas to set the value.

Depth2: Depth 2 is the far point of the depth cue effect. the same fish rendered with Depth 1 set on its nose and Depth 2 set on its tail. On the left. and a low intensity at an intermediate point. Note: By setting a high depth cue intensity at each end of the curve. There is full blurring at this distance. you can achieve a "lens effect". Fog Subpalette The controls of this palette can be used to obtain a fog effect. a fish rendered without depth cuing. where depths both in front of and behind the focal plane of lens of the virtual camera are blurred. On the right. different depths or areas of the . You can adjust the intensity of the depth cue between the near point (Depth1) and far point (Depth2) by adjusting the curve. Depth Cue Curve: Clicking on the collapsed Depth Cue Curve area of the sub-palette expands the Depth Cue Curve to its full size. Type in the Z depth directly or click and drag from the slider to the canvas to pick a depth.

Type in the Z depth directly or click and drag from the slider to the canvas to set the value. Depth2: Depth2 is the far point of the fog effect. The fog effect becomes stronger as depth increases. Set the value as for Depth1. Depth1: Depth1 is the near point of the fog effect. Fog Color 1: Fog Color 1 is the color of the fog at the near point of the fog effect. There is full fog at this distance. pick a object a pixol at the depth you want the fog to begin. Range = 0 to 100%. Set by selecting a color with any of the color pickers and clicking on the Fog Color 1 patch. Intensity: Sets the intensity of the fog at its far point. Fog Texture: You can also colorize the fog by using a bitmap texture. Default = 100%. There is no fog effect at this distance. You can produce other .canvas may be partly or fully obscured by a foggy or smoky haze. You can also click and drag from the Fog Color 1 to any part of the canvas or interface to pick a color.

When the alpha is black. Fog Alpha: You can further modify the fog effect by using Fog Alpha. Each pixel of the alpha will determine the intensity of the fog at that location. Click and hold on the Fog Texture patch to access the texture sub-palette and choose a texture. It will be treated as a grayscale alpha and stretched over the entire canvas area. Click and hold on the Fog Alpha patch to access the texture sub-palette and choose a texture. there is no fog effect. such as smog. Depth 2 set on its tail and a light blue Fog color 1 and Fog Color 2. Each pixel of the texture will determine the color of the fog at that location. Right: Same fish with fog effects. When the alpha is white. Depth 1 set on its nose. Fog Color 2: Fog Color 2 is the color of the fog at the far point of the fog effect.environmental effects. by using a fog texture. It will be stretched over the entire canvas area. . You can adjust the intensity of the fog between the near point (Depth 1) and far point (Depth 2) by adjusting the curve. there is maximum fog. Set as for Fog Color 1 Left: A fish with with no fog effects. Note: A Fog Texture will override Fog Color 1 and Fog Color 2 settings. Fog Curve: Clicking on the collapsed Fog Curve area of the sub-palette expands the Fog Curve to its full size.

3. Preview Shadows Subpalette Preview Shadows:ObjShadow: Controls the intensity of the model's real-time shadows. Ambient: Determines how much ambient (unshaded) light is rendered for all objects on the canvas. and the most distant being the clearest. setting the left end of this curve to the max value and the right end to the min value would render a scene with the closest objects being the foggiest. Used only by the Fast Renderer. an ambient and diffuse setting for the entire scene is set here. Fast Render Subpalette Since the Fast Renderer does not take materials into account. Default = 0. Preview Shadows:BackShadow: Acts as a drop shadow cast by the current model and . Range = 0 to 1. Default = 0. Used only by the Fast Renderer. Range = 0 to 1.8. Diffuse: Determines how much diffuse shading is applied to all objects on the canvas.For example.

or Scene reflections. Preview Shadows:Slope: Sets the azimuth of the light used to project the shadow. A larger number means that the light is more in front of the model. . A larger Length will lengthen and soften the shadow but will also increase computation time. The amount of environmental reflection is set in the Material palette for each material.projected onto the canvas. The slider value controls the intensity of the shadow. All shadows fall at a 45 degree angle across the canvas. changing Depth will have little effect. Slope controls the angle in Y at which the light casts the shadows. Texture. Preview Shadows:Length: Increases the scan range that ZBrush uses to create the shadow. Environment Subpalette The ZBrush Environment palette allows you to globally reflect a single image or color on all the objects in the scene with reflective surfaces. at small settings of Slope. Pressing the Color button enables the Environment Color patch. The effect of Depth depends on the setting for Slope. Zero means that the light is directly overhead of the model. Off: Turns off Color. This cannot be altered. Color: When on. Default = pressed (environmental reflections off). Preview Shadows:Depth: Deepens and enlarges the shadows. lets you use a single color for global reflections.

Field of View: Sets the field of view for environmental mapping and lights. or click and drag from Environment Color to any part of the canvas or interface to pick a color. A setting of zero . the small square showing a scene): When Txtr is on. Repeat: Controls how many times a reflective surface can reflect another reflective surface. uses the current scene as a source image for global reflections. The effect can be visualized by facing two mirrors at each other. click and hold on the Environment Texture patch to access the texture sub-palette and choose a texture.Txtr: Allows a texture to be used for global reflections. Scene: When on. Range = 1 to 5. Default = 50%. use this patch to selecte the environment color. Range = 0 to 100% of the current image size. Default = 1. Select a color with any of the color pickers and click on Environment Color. Environment Color (in the figure above. Trace Distance: The trace distance is how far ZBrush will look to find a local object to reflect. the blue square): When the Color switch is on. Environment Texture (in the figure above. Pressing the Texture button enables the Environment Texture patch.

and Blue Level adjustment curves Adjust: Enables the adjustment variables. The four curves at the bottom of this subpalette are. Default = 0. respectively. Green Level. Red Level. the RGB Level. All adjustment values are saved with the ZBrush scene file.degrees causes the point of view to be infinitely far away. . After the values are changed. Range = 0 to 180 degrees. the adjustments can be turned on and off with the Adjust button. Field of View = 0 Field of View = 120 Field of View = 180 Adjustments Subpalette Adjustments allow you to make color corrections to the final render without permanently altering it. A setting of 180 degrees places the point of view right above the canvas.

Contrast: Varies the contrast of the entire image. seel Real-Time Shadows. RGB Level. Default = 0. ObjShadow: Controls the intensity of the model's real-time shadows. and Blue Level curves: Clicking on a collapsed curve area of the sub-palette expands the clicked adjustment curve to its full size. .Clr: Clears all adjustments to their default values. Brightness: Varies the brightness of the entire image. Default = 0. Green Level. Range = -100 to 100. You can adjust the intensity of the colors between their minimum and maximum values by adjusting the shape of their curves. Range = -100 to 100. For more information on how real-time shadows work. Red Level.

This page has been accessed 3. Length: Increases the scan range that ZBrush uses to create the shadow. at small settings of Slope. A larger number means that the light is more in front of the model. Slope controls the angle in Y at which the light casts the shadows. The slider value controls the intensity of the shadow. All shadows fall at a 45 degree angle across the canvas.info/docs/index. A larger Length will lengthen and soften the shadow but will also increase computation time. 3 June 2007. Zero means that the light is directly overhead of the model.php/Render_Palette" q q q q q This page was last modified 19:49. Depth: Deepens and enlarges the shadows. Slope: Equals the azimuth of the light used to project the shadow. This can not be altered. changing Depth will have little effect.BackShadow: Acts as a drop shadow cast by the current model and projected onto the canvas. The effect of Depth depends on the setting for Slope.zbrush.331 times. Retrieved from "http://www. Privacy policy About ZBrushInfo Disclaimers .

Record timelapse videos Record turntables Record entire sessions Movies can be saved as ZBrush Movies (. you will only record the document and your interface items will be skipped. Learn about the Movie Palettes controls here. they can be exported. q To record a movie. press Movie: Record To record a movie of the entire Interface follow the steps below: . if you have Quicktime isntalled.ZMV) and. Artists can: q q q q q q Record just the canvas Record the entire ZBrush interface Show the menus or turn them off. By default.ZBrush Home Movies From ZBrushInfo The New Movie palette allows ZBrush artists to record their sculpting sessions. Contents q q q q 1 Recording Your Session 2 Creating A Turntable 3 Create A TimeLapse Video 4 Exporting A Movie Recording Your Session Recording your session in ZBrush is as simple as pressing Movie: Record.

unpress Movie: Modifiers: Skip Menus. 1. Rays should equal around 80 or so for nice fall off. When you are done press Movie: Save As Creating A Turntable In this tutorial we will look at how to create a turntable of your model inside of ZBrush using the new Movie Palette. For ray-trace shadows. 1. Movie Medium is 50% of your screen size. Set the frames per second for the recording by adjusting Movie: Modifiers: Recording FPS 5. Adjust your render settings: 1. Press Movie: Window 2. 4. I set this to around 72. this largely depends on your Light:Shadows:Aperture setting. Movie: Medium. Y or Z in the Movie:Modifiers sub-palette. If you are using ray-trace shadows go into the light palette and establish the settings for the shadows. Movie: Large. Start sculpting 8. 3. Set the speed of the turntable by setting Movie:Modifiers:SpinFrames. First. Shadow Length should equal 500 2. You can also set the axis of rotation by pressing X. Movie Large is 100% of your screen size. For real-time shadows. Set the frames per second for the Playback FPS by adjusting Movie: Modifiers: Playback FPS 6. 2. However. if i have a movie with a Playback FPS of 24 and I have SpinFrames set to 72 than I will have one complete turn of the model every 3 seconds. draw your model in the position on the screen that represents the first frame of your turntable.1. Keep in mind that this works in relation with Movie:Modifiers: Recording FPS and Movie:Modifiers:Playback FPS. 3. For example. 1. Set the final output size by selecting Movie: Small. press Render:Best and make sure that Render:Shadows is on. The lower your aperture . 72 divided by 24 = 3. To show menus. 3. Press Movie: Record 7. 2. Set your turntable settings in the Movie:Modifiers sub-palette. artists can quickly and easily create high quality turntables complete with ray-trace shadows and anti-aliasing. Movie Small is 25% of your screen size. Using ZBrush. 3. Set the number of turns you want your model to take by adjusting the value of Movie:Modifiers:Spin Cycles. 2. make sure that Render:Shadows is on and Render: Preview is on. I set this to around 2 since I will use my video player to loop the animation.

this value is in seconds. Finally. When all these settings are established. Adjust the duration of the end image with FadeOut Time. 2. This will save a ZBrush Movie. Create A TimeLapse Video Using TimeLapse can significantly reduce the length (and file size) of your movie. If you do not have Quicktime you can download it for free from www. decide if you want a title screen and end screen. 1. or 3 and entering your text. . Once the movie is recorded. sculpting or painting. A value of 5 means 5 seconds. set Movie:Title Image:FadeOut Time. Set the amount of time for it to be tacked onto the end. the less rays you will need. although once the model has been rotated to its new position. Set the duration of each snapshot with Movies: Modifiers: Snapshot Time. 3. 2. Simply press Text 1. Save your movie by pressing Movie:Save As. a frame will be recorded to show the new orientation. Start sculpting Exporting A Movie Before exporting your movie you will want to set the titles up. If you do not want either one. ZBrush gives you 3 lines of text you can enter in the title and end seqences. 1. then set the amount of time they would fade into your movie with Movie: Title Image:FadeIn Time. Even actions such as rotating the model are not shown. 5. basically. Press Movie: TimeLapse 3. export your movie using Quicktime by pressing Movie:Export. set Movie:Title Image:FadeIn Time and Movie: Title Image:FadeOut Time to 0. Time lapse causes frames to be recorded only when the mouse is doing something that affects the document or model. Adjust the duration of the title image with FadeIn Time.com. These can be found in the Movies: Title Image section. 7. 6. press Movie:Turntable. Aperture should be set around 12 for harder edged shadows. Turn TimeLapse on. 2. Again.apple.4. If you do.

This page has been accessed 56 times. Uncheck Limit Data Rate 3. Press the Options button 8.php/ZBrush_Home_Movies" q q q q q This page was last modified 18:47. 9. 7. Keyframe every frame 4. Press Movie: Export 2. Set Quality to Best 4. Compression type to MPEG-4 2. Make sure it says Movie To Quicktime Movie in the Export option.zbrush. Choose where you want to save the movie 3. Privacy policy About ZBrushInfo Disclaimers . Choose File > Export 6. Then open the movie in Quicktime Pro 5. Hit OK then press Save Retrieved from "http://www.info/docs/index. Choose H264 from here and set quality to High. In the Quicktime dialogue box set the following options: 1.One recommend way to export movies is as follows: 1. 29 June 2007.

or mirrors. material and orientation and are called pixols. Paint strokes can be given the appearance of metal. textures and low resolution geometry that you want to use with other programs. Pixols combines the simplicity of a 2D painting environment with the power of a 3D application. .Pixol From ZBrushInfo ZBrush is not just another modeling package. A change in position of the scene lights will affect their shading on the canvas. you are sculpting digital clay. you can convert and export this high resolution geometry into the maps. In ZBrush. or concrete. points on the canvas – the pixels – have color. They are rendered using their distance. ZBrush is also a powerful depth-enabled paint program. points on the canvas also have depth. ZBrush changes the modeling process. or wood. or of many. Instead of pushing and pulling points around. orientation and material information. In other programs. many other things. It can create models with amazingly high polygon counts. Pixols are not drawn just as color on the canvas. In ZBrush.

The Pixol: The Depth-Enabled Pixel The Pixel (2D) Color Information X and Y Position Information No Depth Information No Material Information The Pixol (2.5D) Color Information X and Y Position Information Z or Depth Information Material Information How Pixols Work .

or both. ZSUB and ZCUT tell ZBrush how to apply depth. ZADD. add perspective effects. This palette lets you instruct ZBrush how you want it to apply the effects created by the various channels. The MRGB. RGB and M buttons let you tell ZBrush whether to paint with material. color. the Draw palette controls the show. color and material in ZBrush. The Intensity sliders let you specify how much color and depth to apply. and even simulate refraction. You can also get at these options in the upper part of the shelf.5D stroke in ZBrush do the following: . let’s look at an example. To paint a 2.In ZBrush. Other sliders let you modify the size and shape of your brush. To help us understand the interaction of depth.

Retrieved from "http://www. 2.zbrush. Make sure that Zadd is on. 8 June 2007.php/Pixol" q q q q q This page was last modified 01:26.166 times. Then paint a stroke on the canvas. Privacy policy About ZBrushInfo Disclaimers . that MRGB is on.1. This page has been accessed 1.info/docs/index. set our Draw Size 3. ZBrush’s real-time render engine looks at our settings in the Light palette and the material that we painted with then renders the stroke on the canvas for us. select the simple brush from the Tool palette.

2.5D and 3D elements of a scene in ZBrush.Space Poly Continum: 2D. You'll be exposed to: q q q q q q q Parametric objects Deformations Basic modeling Texturing Alphas Canvas depth Lighting and rendering settings Bamboo Scene Part 1: Creating The Background Bamboo Scene Part 2: Modeling The 3D Z . This tutorial covers creation of a ZBrush-type 'Z'. written in bamboo on a grassy background. 2.5D And 3D Understood From ZBrushInfo In this section we will look at a tutorial that explains the different 2D. with a few ladybugs thrown in.

5D Grass Bamboo Scene Part 4: Finishing Touches . 29 June 2007.info/docs/index. This page has been accessed 36 times. Privacy policy About ZBrushInfo Disclaimers .php/Space_Poly_Continum:_2D% 2C_2.Adding a 3D Lady Bug and Rendering Retrieved from "http://www.zbrush.Bamboo Scene Part 3: Creating 2.5D_And_3D_Understood" q q q q q This page was last modified 20:31.

ZBrush's paint tools are remarkably powerful. and then refer back to it if you later feel yourself being overwhelmed by all of the various features that are used.1 Placing Models and Strokes 10 Putting It All Together 11 Exercises Paint Brushes ZBrush offers many paint brushes found in other programs. Read it as an overview of what ZBrush painting offers. Contents q q q q q q q q q q q 1 Paint Brushes 2 Color Painting 3 Depth-Enabled Painting r 3.1 Clipping Planes 4 Material-Enabled Painting 5 Alphas 6 Strokes 7 The Picker Palette 8 Basic Controls 9 Models as Paint Strokes (and Paint Strokes as Kinda Models) r 9. or in the Tool Palette. as we show you painting in action. offering many features than cannot be found in any other program. .Crossing The Great Divide From ZBrushInfo Painting in ZBrush is for more than just making pretty pictures. but rather the many concepts and features that can be used to help you in your painting. Paint brushes are accessed via the tools popup. which can be found to the left of the canvas. The following is not intended to teach you all the details of how to paint in ZBrush. plus some unique ones not found in other programs.

you can see exactly the same 'drawing'. pixols offer some unique features of their own. but with just the lighting changed. and the Tool Palette gives brief descriptions of most of them. We won't discuss details of brushes here. Then. In the figure below. The concept of depth-enabled painting is easier to show than to explain. in the middle of the figure. the viewer. Don't worry about it. and as you experiment on your own. but some of them will be explained in greater detail in other sections. and an important one it is. You can look at the Color Palette reference for details of how to select colors. in ZBrush. (But color can be turned off. Do we need to say more? Depth-Enabled Painting This is one of the unique features of ZBrush. Because parts of the canvas have been raised. you can affect not only the color but (optionally) the distance of pixels on the canvas from you. a foreground color and a background color. we call the smallest dots on the canvas pixols (not pixels). the square on the left is some simple painting (a couple of strokes) I made on the canvas. You'll see this in examples.ZBrush's built-in paintbrushes. And of course. using the default settings when ZBrush first starts. When you paint on the canvas. . Color Painting Paint brushes can use color. In fact.) Some brushes use two different colors. too. to indicate that in addition to all of the properties of normal pixels. the way to really get to know a brush is to experiment with it. Many of these are not paintbrushes.

the range of depths is quite large (over 65. which must be finite for any image. on the right I pulled a little trick by converting the canvas to a polymesh. When you paint depth on the canvas. However. you are not creating a model. same canvas. (There's no actual way of 'rotating' the canvas to see it from a side view. unlike width or height. a regular pixel is just a collection of numbers. for the red. because it's how you add the finest level of detail to ZBrush models. And by the way. The canvas is still composed of a bunch of dots. and (often) opacity intensity of the pixel. different lighting. the range of depth of the canvas is fixed. you can't change it. so must depth. Just like width and height. Right.e. and how far is the farthest point.. . how near is the nearest point. you can think of it this way. Clipping Planes Once we allow painting with depth. You are simply pulling pixols towards you. a pixel has another number. "Side view" of canvas. Yes. and then rotating that polymesh to show the depth of the original canvas. the depth intensity of that pixel. ZBrush provides lighting control. green. or pushing them away. we have the question–how 'deep' is the canvas. If you want. In ZBrush.. In ZBrush. so that's unlikely to be a problem.the direction of lights affect how things appear on the canvas. and it can be used to change the look of a painting without making a single brush stroke! Finally. blue.) Left and Center.painting with depth is really important in modeling. i.000 possible planes on which a pixol can be).

Here's a canvas that's been painted with just a couple of strokes. all the gray pixols you see on the canvas are at the distance of the canvas plane. Especially with the reflective stroke. glow. metalicity. the number of the material applied to that pixol. It can produce surface effects like wood grain. The difference is that in ZBrush. three are of particular importance: q q q The back plane is at the farthest distance at which a pixol can be drawn. and so on. When you first start ZBrush. you can really see how the material and the depth of the canvas come together to create the final effect. this means that ZBrush has another number associated with each pixol. A material in ZBrush is like a material in other programs that provide shaders. The front plane is at the nearest distance at which a pixol may be drawn. These paint strokes were done with depth-painting enabled. but you can paint Materials too. but also to pixols on the canvas itself. All of the complex surface appearance is due to the material. Aside In addition to the number representing depth. The canvas plane is midway between the back and front planes. another with a 'rough metal' surface. . One was done with a reflective material (using a picture for an environment map).Within all of those planes along the z-axis. materials can be applied not just to models. None of it is due to the painter (me). Material-Enabled Painting Guess what–not only can you paint depth in ZBrush. who couldn't paint such effects if my life depended on it anyway. and the final with a 'gel' material. so they raised portions of the canvas.

allowing only 256 different levels of gray. transparencies. but we won't go into that. different materials. I just started up ZBrush. Basically. and . that can be found in the alphas popup. Alphas can represent depths. and white parts of the alpha mean it has more effect.) Let's show this with a bit more depth painting. because it's not really part of how alphas affect painting. (Dark area mean it has an 'opposite' effect.Same brush. Aside It's worth noting that many (maybe even most) programs that make use of alphas use 8-bit alphas. Alphas Alphas are another big part of the painting equation. 3D maps such as cavity and bump maps are really just alphas. allowing for more than 65. It's also easy to create or import your own alphas. and it can be used to affect lots of things. ZBrush comes with a bunch of predefined alphas.000 levels of gray. This ensures a smooth effect. This can result in a 'stair-stepping' effect in many cases. or in the Alpha Palette. either to the left of the canvas. The major effect of alphas is to modify the shape of the brush. ZBrush uses 16-bit alphas. and virtually any effect that depends on intensity. gray parts of an alpha mean the brush has less effect. masks. no matter how the alphas are used. An alpha is simply a gray map. In the figure below.

and a 50% gray means 'no effect'.) All of the ZBrush settings were left at their default values except for the alpha.'clicked' three paint strokes. and the area around it fades smoothly into the depth of the rest of the canvas. we get an effect where the center of the clicked stroke is raised. including color intensity. Brush 30 I think of this as the "soccer ball" alpha. the right of the image shows the effect of a more interesting alpha.) The center of the image shows the effect when using alpha Brush 17. Alphas are one of the most important tools you have in ZBrush. Finally. They affect almost anything. dark areas create a 'negative effect'. Strokes There's yet another factor in the ZBrush painting equation. So if any parts of that alpha had been darker than 50% gray. they would have pushed pixols into the canvas. Since that alpha is an image with white at the center. and lots of other stuff. (I didn't drag them out or anything like that. light areas of the alpha create a 'positive effect'. The stroke at the left shows the effect of the default alpha (Brush 01). Note: In ZBrush. strokes. the 'bullseye'. fading to gray at the outside. Same brush stroke and settings. . A stroke can be thought of (more or less) as controlling brush movement. different alphas. Alphas don't affect just depth. transparency (where it makes sense).

Grid. Freehand. But there are more stroke types than this! Left to right: DragDot. as you move the mouse. so the faster you move your mouse. physical canvas. It's as if you clicked on one point. with a twist. The Freehand stroke corresponds to a 'standard' stroke in other programs–or on a real. and then clicked on another point a littler farther away. The Picker Palette . But there are more complex strokes. It's finalized once you release the mouse button. The dots are put down at regular intervals of time. around the mouse. and material on the canvas as you move the mouse along. It lays down a continuous layer of paint. Dots. DragRect. The Spray stroke puts down multiple semirandom copies of your basic brush. and moves them outwards in a grid from where you drag. and so on. q q q The Dot stroke places a single dot on the canvas. All strokes were drawn vertically. for that matter. let's consider some of the simpler strokes. from top to bottom. Examples of the stroke types described above can be seen in the figure below. Very useful! The Dots stroke applies a series of dots as you drag the mouse along. Spray stroke types. the farther away the dots will be from one another. depth. you can drag the stroke around to position it. Two examples are are: q q The Grid stroke effectively makes multiple copies of a dot stroke. If you click and hold the mouse with this stroke active. according to how far you drag the mouse. This is actually done by putting down 'dots' at very closely spaced intervals.To get an idea of what strokes do. except for Spray (which was just doodled around a bit). and you'll be able to see this with complex alphas.

That's the Picker Palette. This is discussed at some length in the Picker Palette. for that matter). Instead. These controls affect many or most aspects of painting (or sculpting too. so we need to figure out how the new stroke will interact with existing strokes: q q Will it be hidden or partly hidden by the existing strokes? Will it maintain a constant depth. as well. Please look there for more information. Again the Picker Palette talks about these options in detail. For convenience. especially when you're first starting to use ZBrush. Let's say you start a paint stroke on the canvas. existing strokes. Basically the Picker Palette affects how the pixol under the brush affects the paint stroke. but there's still another thing we need to consider.I know you're already feeling a little buried. because many of them don't make sense unless you understand things like alphas. we can choose to have the new stroke continue at the same depth it started at. And there are several other related options. and you drag it over other. it can do some really cool stuff. or follow the depth of the underlying content. The bad news is that since it isn't obvious how useful it is. The good news is that it's something you can more or less ignore for much of what you do. In the case described above. they . and so always remain "on top of" whatever already existed. Basic Controls We've left discussion of the most basic painting controls until now. we'll just look at one of the options the picker palette offers. All of these strokes have depth. so we won't go into details here. you may forget about it. The other good news is that when you do use it. or will its depth change as it moves over canvas areas with differing depths? The Picker Palette lets us choose such options. or painting with materials.

. for most uses. (A useful tip. Mrgb means use the selected material and color when painting. and M means use material but not color. When depth painting is on. Tool (paintbrush) chooser.are grouped together above the canvas: They can also be found in their 'real' homes.. and use repeated brush strokes to do what you want to do.. airbrush. and hold down the 'xxx' key to invert it's meaning. you'll have noticed the usual complement of brushes–simple brushes. eraser. the Color chooser (foreground and background) can be found there too. (All of ZBrush's 3D primitives are there. Oh.) ZBrush can paint using models (and can also treat more traditional paint strokes as models in some ways. And here's what they do: q q q A number of buttons control what effects are applied to the canvas when painting.) Zintensity affects how much pushing or pulling is done with each brush stroke. These choosers can also be found in individual palettes: xx. But you'll also have seen that 3D models are part of this inventory. Material chooser. Stroke chooser can all be found on the area to the left of the canvas. while Zsub means light areas of an alpha push pixols away. (But it's normally more convenient to just just one of these. and so on. as we'll see in a moment). a paint stroke is just a movement of the mouse that affects pixols on the canvas–and laying a model down on the canvas certainly comes under that heading.. Rgb means use color but not material. Zadd means that light area of an alpha pull pixols towards the viewer. After all. the xxx. Models as Paint Strokes (and Paint Strokes as Kinda Models) If you've looked at the ZBrush Tool inventory. and any imported models will show up also. keep Zintensity small. Alpha chooser.) The Brush chooser.

When any of these button are active. Nope. Below on the left is a crude 'Z' drawn with the basic simple brush. You could use the gyro to move around a model while sculpting it. Using the gyro. you can't remove except via undo operations. Except for the last stroke I drew. not just models. I've activated rotate mode. And in the next two snapshots. The gyro is intended for placing things into full scenes. shrink or grow them. regardless of whether or not they are models. all of these strokes are 'fixed' on the canvas. to make it easy to modify some but not others. depending on which of move/scale/rotate is on. This might look like something pretty close to 3D modeling. Second from the left. and you can do certain things to it. or rotate strokes. there are better ways to manipulate your model while actually sculpting. Clicking on different parts of (or outside or inside) the gyro will move. the rotate gyro appears at the center of the stroke. you can keep different strokes on different Layers. Now for something very cool. you can place almost any stroke. it becomes the live stroke (the most recent stroke put on the canvas). a neat-looking little control called The Gyro appears around the model. . (However..Here's a canvas where I've drawn in some models along with some more basic strokes. even along the z-axis. and can be placed using the xxx buttons. ZBrush can move. but doing so would be somewhat of a hassle. you can see the 'Z' stroke rotated by different amounts and in different directions. or rotate the model in different ways. The most recent paint stroke you drew is called the live stroke.) Placing Models and Strokes Drawing 3D models onto the canvas wouldn't be very useful unless you could place them right where you wanted them–rotate them. scale. move them into place. When you draw a model. scale. but previous painting becomes fixed to the canvas.

A 'Z' painted onto the canvas and rotated by different amounts. If things are still really confusing. and others). as any Jedi master could tell you. and Great Danger. eh? Let's look at all the things that can affect a single brush stroke: q q q q q q q Choice of paint brush. when things aren't behaving as you expect. You Know What These Are. Alphas. Save your scene and custom . Stroke setting. they're listed above. intensity. associated with other choices. Putting It All Together Whew! Quite a collection. xx. Depth settings (enabled/not enabled. to see if that helps you track down a forgotten setting. check everything that might be affecting your painting. What to do? Well. these properties give you a great deal of control over what your painting does in ZBrush. you may be overlooking a setting. with Great Power comes Great Responsibility. In particular. first be aware that ZBrush remembers certain settings. Foreground (and maybe background) color. So. you may find at some times that your painting isn't doing what you think it should be doing. But. Experiment with some other brushes. Altogether. Materials. Picker palette.

this isn't a problem with ZBrush–it's just that's so flexible that it's easy forget settings you've changed. quit ZBrush. regardless of how you do it. And if all else fails. press xx. When you're working with 3D strokes. Exercises What would a primer be without exercises at the end? The following diagram shows six effects that were each drawn with just one or two paint strokes. q q Many stroke types have additional settings. and restart. No.tools (including models). Your task. check the Stroke Palette to see if any additional settings show up. This will reset most of ZBrush to be very close to its factory configuration. is to come as close as possible to these effect. Not everything you need to know to do the above has been talked about explicitly on this page. If you select a stroke type (especially a specialized one). should you choose to accept it. don't forget to use The Gyro! . so here are some hints.

Retrieved from "http://www.zbrush.php/Crossing_The_Great_Divide" q q q q q This page was last modified 20:22. Alphas and textures can work together. There are some neat stroke types we didn't talk about.info/docs/index. one defines what will show up in a paint stroke. Privacy policy About ZBrushInfo Disclaimers . The Deco Brush texture defaults to a nice rainbow-type spectrum.q q q q q Remember that many brushes need something to paint on. before they can paint. the other defines what parts of the pattern will show up. Maybe you need to lay down a patch of square? The Roller Brush can be used to paint a color or texture in a continuous strip. 29 June 2007. This page has been accessed 47 times.

ZSpheres. Part 2: Sculpting and Posing. Texturing. and Compositing. .The Making of "Birth" by Francois Rimasson Featuring: Transpose. They are: q q q Part 1: Introduction. and Mesh Extraction From ZBrushInfo This tutorial has been split into several parts. Part 3: Details. SubTools. Rendering. Creating a Figure with ZSpheres. to avoid long load times for your browser. Shading.

to sculpt. will all work to produce an illustration with true 3D appearance. such as interface configuration or ZScripts. you don't have a 3D workspace. The canvas can be painted on. . but there's still a lot I won't go into.3 Basics: Hiding and Revealing r 2. but with much greater depth). rendering. In ZBrush. Editing. and so on.4 Basics: Masking 3 Using Z-Spheres To Create a Stick Figure r 3.1 Basics: Tools.3 Creating a Rough Shape from the Stick Figure Introduction This Project is going to guide you step by step. texture and finally render it. with good rendering capacities. but a canvas. and 3D modeling software. and to allow you to create a whole scene with Zbrush 3 from scratch. and can also be sculpted in and out (like a bas-relief carving. and lighting.1 Polygroups r 3. Your model can then easily be incorporated into a previously painted scene. This is an extensive tutorial. It's a mix between 2D painting.2 Polygroups Visibility r 3. and Navigation in Zbrush r 2. When doing pure 3D modeling.2 Basics: Sculpting r 2. you simply manipulate the model with a (usually) blank canvas as the background.by Francois Rimasson Contents q q q 1 Introduction 2 About Zbrush r 2. About Zbrush Zbrush is different from other 3D and painting programs.

5D brushes. which are normally referred to as polymeshes or meshes.5D brushes. alpha maps and materials. It's where you load. all the models are created. a 3D primitives. which also includes 2. Because of this integration. Basics: Tools.Of course. A new feature in ZBrush 3 is that a single polymesh can be split into multiple subtools. The picture on the left was created from scratch in Zbrush. let us have a look to the basic functions of Zbrush. Before beginning this tutorial. ZSphere skeletons. save and edit all of your models. and that's largely what we'll be doing in this tutorial. . textures. posed. textures. To paint and sculpt a tool or the canvas. Editing. many artists use ZBrush as primarily a 3D program. different kind of strokes. a model in ZBrush can be thought of as a tool. and Navigation in Zbrush The Tool Palette (palette is another name for menu in ZBrush) is one of the most important menus. and rendered without (almost) the help of any other application. sculpted. you will use 3D and 2. lighted. and of course standard 3D models. as well as the main menus. enabling you to work on multiple items at the same time.

Edit Mode mode will let you edit and sculpt the sphere.Select the Sphere 3d primitive and drag it on the canvas. you can find the Edit. the Draw. Move. all these icons except Edit are now active. When this mode is on. and press the Make PolyMesh3D button in the Tool menu. enter the Edit mode. . For the moment. Move. The sphere primitive is converted into a standard 3d Mesh. Sculpting brushes will work much better with standard 3D meshes (polymeshes). Scale and Rotate icons will allow you sculpt. Draw. or pose your current tool. Scale and Rotate tools (respectively : W. You can use the Move. After you draw the Sphere. or stay in Draw (Q key) to draw other spheres. E. R keys) to transform the sphere. Near the top of the canva. Scale and Rotate icons. move.

press the Alt key and click-drag on your canvas. For now. on the right of the canvas area. press . just click drag on an empty area of your canvas.. press the Alt key.. To scale your Tool. then. click-drag on your canvas. release the Alt key.In Edit Mode. A safe area (one that you can drag on to do the above) appears around the canvas that will help you to move rotate or scale your tool. (or on the Safe area around) To move your Tool. you'll have to use the Transform icons. activate the Local transformations. rotate and scale the current tool. or the following combos: q q q q To rotate your Tool. even if your model one fills all the available space on he canvas. to Move. Basics: Sculpting . If will help to focus on the part of the model you're working on. To center your Tool.

are all in the Brush menu. and the depth. Before beginning. Press U to change the Z intensity of the brush. q q Press S to change the Size to the brush. Each has a different effect. On the top row.The various available brushes. take time to experiment with them. and material of the tools when the Edit Mode is off. color. . you can find the buttons to controls the color. which are going to serve you for sculpting the model. opacity and materials of the 3d brushes when the Edit Mode is on. and can be combined with different strokes and alpha maps. opacity.

q q q Press I to change the RGB intensity of the brush.gif You'll find in the Transform Palette the Symmetry options. X. Image:Birth Symmetry. Symmetry in X. Symmetry will save you a lot of time. Press O to change the Focal Shift of the brush. Y and Z can be switched on and off by by pressing respectively. You can also show for a moment a Hotbox that includes all these options by pressing the Spacebar. Y and Z keys. Basics: Hiding and Revealing (Upper half of figure): .

Basics: Masking . press CTRL + Shift and drag a rectangle on an empty area of the canvas. To invert the model visibility. The remaining part of your model is hidden. The rectangle becomes red. press CTRL + Shift and click on an ampty area of the canvas. (Lower half of figure): q q q Press CTRL + Shift and drag a rectangle as previous. While you draw the rectangle area. q The Lasso tool allows you to quickly create freeform selections by pressing CTRL + Shift and dragging out a lasso.q Press CTRL + Shift and drag a rectangle to keep visible a section of the sphere. release the SHIFT key. To reveal all the model. and the underlying part of the model is hidden.

In the same way as .(Upper half of figure): q Press CTRL and drag a stroke to mask a section of the sphere. (Lower half of figure): q Press CTRL+ Alt and drag a stroke to unmask a section of the sphere.

selecting an Alpha has an influence on the stroke. (Upper half of figure): .for sculpting.

Now. press CTRL + Shift and click on an empty area of the canvas.) Using Z-Spheres To Create a Stick Figure To start. all but your current tool will be erased. . go out of Edit Mode. we will build a simple stick-model using Zspheres. and clear the Document. and to create a model from. you can also use the lasso tool to mask them. and enter Edit mode. which are a quick way to create a stick figure. press CTRL. This model will be a template on top of which we will create the final topology of our girl. To clear the mask. As with hiding faces. and drag a rectangle on an empty area of the canvas. To invert the mask. Click-drag it on the Document. Select the ZSphere icon in the Tool palette. (Lower half of figure): q q q q Press CTRL + Alt and drag a rectangle to unmask section of the sphere.q Press CTRL and drag a rectangle to mask a section of the sphere. using CTRL + N. (If you're editing a tool.

You can notice that your cursor becomes green when it's over the symmetry axis. using the X Key.Activate X Symmetry. You can also find the Symmetry options on the Transform Menu. .

Here is what the skeleton and the poly model should look like at the end. q q q Select the Draw icon. to transform the downstream hierarchy. Go into Move mode (W key). and start to add a first Z-Sphere. Rotate or Scale each Z-Sphere individually. It's time to add arms and legs to our model. just Alt + Click on it. If you want to delete a Z Sphere. or select the Link between each Z-Spheres. To shape your Stick figure you can Move. Polygroups . and move it just above the original Go into Draw mode and add 2 other Z-Spheres the same way. we will create the Spine and the head of our model.Now. Pay attention to create this sphere on the axis of symmetry.

If you import a model exported from Maya in . Polygroup options can be found in the Tool:Polygroup subpalette. in the Tool:Adaptive skin subpalette. or the A key You can Switch on and off wireframe and polygroups display by pressing the Draw PolyFrame button. which has selections sets. or using to the visible polygons.OBJ format. or Shift +F Polygroups are just a quick and easy way to group part of your model. and go back to the Zsphere display at any moment by pressing the Preview button.You can preview your poly model. The creation of these can be made according to UV sets. . these sets will be converted into polygroups. and to isolate these parts later.

Polygroups Visibility Hold CTRL + Shift and click on a polygroup. You will notice that our poly . these groups will be preserved when you will export your model again. and especially at the hands. Have a closer look at the poly model.In the same way. Revealing the model or inverting the visibility works as usual. or the junction of two polygroups: the rest of the model is hidden.

Creating a Rough Shape from the Stick Figure .model has multiple colored parts. You can switch to a more neutral shader. You'll have to add an additional Z-Sphere on both side of the palm. save your model. Note: Because of the reddish clay shader. ensure every finger is in a separate polygroup. Each part is in fact a polygroup. polygroups are not really visible. When you will model your character. A new polygroup is created each time the ZSphere hierarchy is split. When you have finished. It will help us later. or change the Render mode to Preview. so that fingers have good topology.

. You can move back and forth between these levels as you model. Switch to this new model. Hit Make Adaptive Skin. The model we created has multiple subdivision levels.Let us look more closely at the Adaptative skin sub palette. A New 3d model is created and placed in the Tool Palette. Set the Density to 4. and make sure that the Minimal Skin to child button (MC) is on. You will there find all the needed options to controls the model we'll generate. or using D and Shift + D keys. q q q q Press A key to preview your Poly model. by using the Lower Res and Higher Res buttons.

It's time to rough out our model.
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Select the Standard Edit Brush. make sure the X symmetry is on Just draw strokes on your model to Pull geometry. Pressing Alt key while you draw strokes, will push the geometry, and the Shift key will smooth the model. At this stage of the sculpting, you can also experiment the Inflate and Tweak brushes.

Don't push the sculpting too far. A quick rough is enough for now.

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This page was last modified 22:36, 22 May 2007. This page has been accessed 38,209 times. Privacy policy About ZBrushInfo Disclaimers

Tutorial: Birth 2
From ZBrushInfo
This tutorial has been split into several parts, to avoid long load times for your browser. They are:
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Part 1: Introduction, Creating a Figure with ZSpheres. Part 2: Sculpting and Posing. Part 3: Details, Texturing, Shading, Rendering, and Compositing.

Contents
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1 Creating New Topology r 1.1 Before Beginning to Sculpt r 1.2 Creating Polygroups r 1.3 The Advantages of Working with Layers r 1.4 Erasing Layer Information r 1.5 Detailing the Eyelid. r 1.6 Shaping the Breasts r 1.7 Detailing the Ear r 1.8 Shaping the Hand r 1.9 Symmetry 2 Posing the Model r 2.1 Twisting 3 Oops, I Missed the Hair!

Creating New Topology

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Select a new ZSphere tool. Clone your model, and hide a part of the legs. Make sure that the subdiv level of the model is at 2 Press CTRL and click on all the polygroups, one by one, to hide the whole body, except the fingers and toes. To spare time, we are going to keep this geometry and to use it as starting point for the final model.

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In the Tool:Rigging subpalette, select the whole model, and activate the Projection Mode, so that the model which will be generated is projected on the Template.

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In the Tool:Topology subpalette, select the cloned model only fingers of which are visible. Enter the Edit Topology Mode.

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An orange wireframe model should appear over the fingers and the toes. This topology is composed of multiple Z Sphere chains, and was generated from the topology you selected. These chains of Z Spheres defines the contour of patches, from which a 3d mesh is going to be generated Set the Max Strip Length to its max. This parameter indicates the maximum length of one of the side of a patch, so that it can be generated Like a standard Z Sphere model, you can Move, Scale, and delete part of the topology as you like, and also can preview the final model at any moment, by pressing A.

We are now going to create the rest of the topology, by beginning by connecting the thumb with fingers, and then, we are going to create rectangular patches which are going to define the remaining topology.
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Press CTRL and click on a Z Sphere to define the starting point, and draw a four segments ZSphere chain. Create a second chain. both of them snaps automatically on top of the underlying model.

Pay attention that both chains have the same number of segments. If a chain has less segments than the other one, press CTRL and click on a segment to select it, then add an additional segment.
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Press A to check the generated mesh, then A again to switch back to the ZSphere model.

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Continue to add patches, until the model is ended. Open the Adaptative skin sub palette, and Hit Make Adaptive Skin.

The final model is generated and placed in the Tool Palette. The number of it's subdiv level is controlled both by the Density slider in the Adaptative Skin sub-palette, and by the Subdiv Parameter in the Topology Palette.

Here is what the final geometry should look like.

Before Beginning to Sculpt

Now, the serious things are going to begin. The model on which you go to work will be the definitive model, (or almost). The first thing which it is always necessary to do before sculpting a model, is to crease the border edges. Here, the only ones are the openings of the eyes and the mouth. When you go to smooth the model later, these edges will remain hard. The second advantage to hardening the edges of the model, will be when you have to calculate the cage of the model, to generate a displacement map; the cage model will be cleaner.
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Go to the Tool:Geometry subpalette, and apply a crease. Subdivide the model five times, up to level 6, with the Divide tool, or using Ctrl + D. The model should be around two million polygons

Creating Polygroups

We are now going to create polygroups, and for it, we are going to use Zbrush 3's new topological masking tools. {{Note|You can use these tools only if you're in Move, Rotate or Scale mode.}

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First, go into Preferences:Transpose, and set the Mask Blur Strength to 0. Make sure that the X Symmetry is on, go into move mode, press and hold CTRL then click on the wrist and drag towards the hand to create a topological mask that isolates the body. Release CTRL.

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CTRL + Click on the canvas to invert the mask, go to the {{Ctl|Tool:Masking:} subpalette, and hide the unmasked polygons, then go to the Polygroup subpalette and create a new polygroup.

|Always create your polygroups at the lower subdivision level.

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In the same way, create another topological mask by drawing another line from the top to the bottom of the corner of the mouth, then, create a new polygroup, to separate the upper lip from the bottom lip.

The Advantages of Working with Layers

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Layers allow you to work with much more flexibility, and and to easily correct many kinds of errors. You will be able to work with a model at many different stages of development simultaneously. You can add details, then turn those details off and refine the major forms underlying them.

The layer submenu is in the Tool palette. All models start with no layers defined.
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To create new layers, use the Tool:Layer:New button. If you wish to bake the layer into your sculpt, simply press Tool:Layers:Delete. If you want to remove the layer and the sculpting from your mesh, turn off the visibility of the layer by pressing the eye icon and then pressing Tool:Layers:Delete.

When you create one 3D Layer on a model, the following layers have to be created at the same level of subdivision as the first one. They can on the other hand be edited at any level.

Erasing Layer Information
You can erase information in a Layer by using a morph target and the morph brush. To do this take the following steps:
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Turn off visibility for the layer you want to remove information from. Store a morph target by pressing Tool: Morph Target: Store MT. Select the morph brush. Turn the visibility back on for that layer. Paint out the area you want to remove.

This model is fairly simple in terms of the abilities ZBrush offers, it does not present big technical difficulties. The challenge to make a beautiful result is essentially anatomical. You'll visit in the next chapters some techniques which are going to allow you to work more quickly and more effectively.

Detailing the Eyelid.

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Create a topological mask around the eye at subdiv level 3, and invert it. (You can create the mask only in one direction, from the outside inward of the eye, because you're working in symmetry) If the Mask is too blurred, use the Sharpen Mask tool, in the Masking Sub Palette. Create another topological mask just after the first one, so that there is no more than a simple strip of polygon which is not selected. With the Tweak brush,shape the eyelid, clear the mask. Select the Smooth Edit Brush and set the slider to -100. This prevents the concave polygons from being smoothed. Smooth and reshape the eye socket.

Shaping the Breasts

The Topological masking tool will help us a lot to shape and add volume to the breasts of the model.
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Go into the Preferences - Transpose subpalette, and set the MaskBlurStrength to 7. Create a topological mask under the breasts. Select the Inflate Brush, to add some volume under the breast, and then, switch between the Tweak and Standard Brushes to polish the shape.

Detailing the Ear

The ear is certainly one of the most delicate part of the human body, and it will be one of hardest to sculpt. For it, you need a closer look at the sculpting brushes parameters. These are (almost) all grouped together in the Brush Palette.
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The Edit Curve determines, and can modify, the brush profile. To get a brush profile that mimic the Edit curve, activate the Accucurve tool. The Accucurve tool is also a quick way to switch from a rounded brush to a sharper one. It's a clever idea to have this button on your interface. Selecting an Alpha in the Alpha palette will also have a great impact on the brush look.

The circumference of the ear, the Helix, with its part bent back on itself is certainly the most difficult to be sculpted. For it, we are going to use the Gravity tool, in the Brush Palette.

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Set the Gravity orientation gizmo to the right, and the strength to 100, and draw a first stroke to shape the recess.

q Put the model in a view of three quarter.q Hold Alt and draw a second stroke to shape the fold. and use the Snakehook brush to shape the auditory canal. the gravity is also inverted. . When you reverse the Stroke direction with Alt..

q Use ths Clay and the Flatten Brushes with a low intensity to build up the earlobe. . This can change the sensitivity of the Clay and Flatten brushes. has a great deal of importance. The Samples parameter. by averaging the orientation and height of the underneath surface. which you can find in the Brush Palette. The Flatten brush will also help you to create a sharp transition between the circumference of the ear and the head. then the Tweak brush to highlight it with regard to the head.

you can nevertheless symmetrize it afterward.) q q q q Click and drag from the inside of the midpoint of the action towards an endpoint. such as it is. drag the line itself to move it. Click on the Line's Endpoint. click on hand's surface and drag out the action line. To use only standard sculpting brushes to correct it is not really going to give good results. A digital red string is now attached between your cursor and the brush itself. Symmetry In certain cases.03. the Topological mask works much better when the symmetry is not activated. Open the Stroke menu. .q To be able to draw very precise and controlled brush strokes with ease is going to make you win a great deal of time. the Lazymouse tool will help you a lot (see Lazy Mouse). to scale the finger. Do the same for all the fingers and toes. Go into Rotate Mode. are not spread enough. and set the LazyStep to 0. pose or deform your model. q q q q q Ctrl + Click on the hand to hide all but the hand polygroup. The hand. and sculpting can continue. Shaping the Hand Work on the hand is a good time to have a first glance at the Transpose tool. which is a new feature in ZBrush that allows you to quickly position. (To move an entire action line. is not very realistic. Fingers are too fine. To do it. When you do not sculpt a mesh by using a symmetry. and rotate the Finger. activate the tool. To create an action line. The endpoints of the line will snap to whatever is under them. Go into Scale Mode. Draw a topological mask to mask the all the hand. except a finger.

To Blur the Mask. as for fingers. to have anatomically correct muscular deformations. compressions. apply a Smart Resym. but also to re-sculpt it. Select the Symmetry Axis In the Tool Deformation Palette. adjust the Mask smoothness with the MaskBlur and MaskSharpen tools. . The deformations will be made more easily. and Click on the model. You will have to. mask the part which you do not want to deform.q q q q To do that. mask the zone of the model which you want to symmetrize. During this phase you should not only pose the model. the whole model is averaged. dedicated to the Posing. and use that to deform the model. hold CTRL and Click on the model. Posing the Model Posing the whole model with the Transpose tool is really simple. To Sharpen the Mask hold CTRL + Alt. when the model has few polygons. In case nothing is selected. and go to the 2nd subdiv level. and skin folds. q q q q q Create a new 3d Layer. and create one Action Line.

Twisting With Transpose. but also twist them. you are not limited to rotating parts of a model. .

except the new polygroup. then. I changed my mind afterward and decided to extrude the hair from the head. Move the polygroup backwards using the Transpose tool. I Missed the Hair! When I created the model. Repeat the operation a few times. and create a new polygroup on the back of the head. I thought of modeling hair separately. q q q Go to the lowest subdivision level. in the Tool:Geometry sub palette. Oops. (The Action Line was drawn on the Surface of the model) Click and drag on the line's midpoint to rotate the forearm. . Hide all the model. create an Edgeloop. You're gonna do the same thing. create a Topo mask as usual. blur it until it goes from the elbow to the wrist. Rotate your model to center the Action Line on the forearm. You can switch to Flat Render mode to better check the masking. that's all.q q q q To do that.

activate the Lazy Mouse Mode. This page has been accessed 8. Privacy policy About ZBrushInfo Disclaimers . then. Retrieved from "http://www. 22 May 2007.zbrush.php/Tutorial:_Birth_2" q q q q q This page was last modified 22:39.info/docs/index. switch to the Standard Edit brush to add details to the hair.578 times.Begin by shaping and add volume to the hair using the Tweak and the Clay Edit Brushes.

1 Rendering the Shadows 7 Compositing and Final Touches Shading and Rendering Before texturing the model. you will need to create a nice shader that mimic skins. Shading. a new way to shade your models 2 The Eye r 2.2 Positioning the Eyeballs r 2. For that purpose.1 Creating an Alpha From a Photo r 5. or from within Zbrush. Texturing.2 Creating an Alpha Manually and Using It With the Edit Brush 6 Creating the Illustration r 6. Using a good material from this point will also give you a good idea of what the model will look like in a final render. a Matcap material. Rendering. you'll use a new type of ZBrush 3 material.3 Adding Eyelashes 3 Painting the model 4 Creating the Set 5 HD Sculpting and Painting r 5. with a Subsurface Scattering look. in order to have a better feedback. to avoid long load times for your browser.1 Texturing the Eyeball r 2. It can be created in two different ways: By using a Ball picture rendered in a 3d application.1 Setting up a Standard Shader r 1. and Compositing.Tutorial: Birth 3 From ZBrushInfo This tutorial has been split into several parts. They are: q q q Part 1: Introduction. Creating a Figure with ZSpheres.2 MatCap. Setting up a Standard Shader . Part 2: Sculpting and Posing. Part 3: Details. Contents q q q q q q q 1 Shading and Rendering r 1.

A copy of the Ball is stored in the Texture Palette. Four sun lights should do the job q You can do some experiments at your own will. and set it as shown. you can also arrive at the same result by using a standard material. and drag a selection on the document around the Ball. select a DoubleShade Material. q Select the MRGBZ Grabber tool. . Open the Light Palette. q q q In The Material Palette. to preview the material. and Adjust the lights to get a nice result. or open the light setup also included in the Zip file. draw a sphere on the Document. make sure that Auto Crop is on.If you can't use an external app to create a Shaded ball. In the Tool's modifier's palette. Now.

a new way to shade your models The Sphere on the left is rendered in Mental Ray. open the Modifiers Sub Palette. the lights and your document if you want to make further modifications of the material. q Select a MatCap Material in the Material Palette.q q Change the specular settings of the material to have some variations of the material. MatCap. Save all the pictures. The subsurface settings were adjusted so that there are no dark zones. using the MiSSS Skin shader. like the Red Wax. . and so that the translucence is really visible. and grab more pictures.

except the Iris. You only have to choose between different Alphas. then click on the Base Color Modifier. and do a Crease. Some tools don't allow you to modify the Material settings. Unhide all. click on a Pole vertex to shape the Iris. Texturing the Eyeball q Now. In The Color Palette. To paint a model.q q q q If the Material Palette is greyed. Convert the Pritive to a Polymesh 3D. hold Shift to constraint the translation to the vertex normal. It will bring in the pink color of the material when you will paint it. switch back to the Eye model. and select the one of the Ball pictures grabbed previously. now. You don't need any UVs on your model. That's all for the modeling.Texture subpalette and activate the Colorize option. in the Initialize SubPalette. Hide the Eyeball. . Click on the Material texture 1 Slot at the lower Left corner. and create a new Polygroup from. and set the HDivide and VDivide to 24. as the color is actually stored on the model vertices. The Eye We're going to model the eye. or a picture rendered in a 3d app. q q q q q Select a Sphere 3d Primitive. select a brown color. And leave only the RGB activated. select a 3d Primitive tool. now . open the Tool . and subdivide the eyeball up to level 5. q Deactivate the Zadd option. Select the Tweak Edit Brush. then. you can simply use the same Standard Edit Brush as to sculpt.

and pick a color in the Color palette. of simply from the canvas. To reproduce it more easily. you can deactivate the symmetry. and drag the cursor to the area of the document you want to sample. and to bind the texture of the iris. The Iris has a specific radial pattern. As you created earlier several Polygroups.different Strokes. To pick a color from your model. and set the radial count around 25. activate in the Transform Palette the Radial and Z Symmetry. and continue to detail the eye Positioning the Eyeballs . When the basic texture is created. click on the Color Palette. these will allow you to mask easily the white of the eye.

select the Eye. as well as lashes. and. then. and an eye. You will certainly have to adjust the position. append the cloned eye as a new subtool (for the second eye in the figure). and a set later.One of the big novelties of Zbrush 3 is the possibility of grouping together several models. and adjust it's position. It is in this way that we are going to be able to add eyes to our model. called Subtools. After this has been. Select the Body model. we have two separate models: a body. click on the Append button. Adding Eyelashes . Clone the Eye. size and the orientation of the eye with the Transpose tool. At the moment.

Hide all the model except the head. select the MeshInsert Fit Tool. Go to the fifth subdiv level. Create a single Polygroup from the model. and delete the higher and lower levels. q q q q q Draw on the canvas a ZSphere tool. In the Tool Deformation Subpalette.Lashes are going to be created separately. q q q q q Select the model of the body. but on a template without any subdivision levels. . and convert it to a 3d mesh using the Make Adaptative Skin tool Select the new 3d mesh. and delete the lower subdiv levels. Ensure its dark half points upward. This first Z Sphere will be the pivot point of the lash. Open the Brush Palette. and mask it all. Draw an additional Z Sphere from the light side. from ZSpheres. then select the Lash as the mesh you will insert. Preview the model. Clone it. Lashes are not going to be put directly on the final model of the body. rotate the model on the Z axis of 90 degrees. and a Z Sphere chain from the dark side of the first Z Sphere. and its orientation is very important.

and delete the hidden polygons. lips. cheeks. Start with flat tint of color. If it is the case. in the Deformation Sub Palette. using a low RGB opacity add color variations on fingers. To finish. select a spray stroke and Alpha 23. Painting the model To paint the model does not present any particular difficulty. hide the Body Polygroup. add the lashes as a new Subtool to the final model. . When you are satisfied by the result. then. to define areas like hair. change their orientation by using the Rotation slider. knees. Finally. to add some blemish to the skin. q q q q Lashes may not be directed in the right direction when you go to add them.Add lashes. nails. You can also tweak them with the Tweak and the Transpose tools.

As most of the primitives in Zbrush. draw it on the canvas.Creating the Set To create the Set. then Flatten the bottom. Spherize the mesh. this mesh has poles. we are going to start from a simple cube primitive. . then convert it to a Polymesh 3d. set the resolution to 8. then click on the Unified Skin button A new tool is created in the Tool Palette. Open the Deformation Sub Palette. q q Subdivide the model one or two times. and that will not be convenient when you sculpt it. select the Primitive. Switch to it. q q Open the Tool:Unified Skin Sub Palette. So we are going to change that. q In The Tool Palette.

. to bound the shape of the new model. click on the Extract button. A mesh with some thickness is created as a new subtool.q Draw a mask. That's the one that we will use a the final model of the set. and Hide the Unmasked part q In the Subtool Palette.

hover your mouse over the area you want to sculpt and press the a key. When done with HD sculpting. thanks to the HD. we'll do some high-definition sculpting for details. You can then sculpt in that area. HD Sculpting allows you to detail a single model up to one billion polygons. This will be enough to add all the needed details. we are going to be able to add the skin grain. In Tool:Geometry HD.Before sculpting the set in HD. the relief tattoos. press the a key again to exit Sculpt HD mode. give it a sharp look with the Tweak Edit Brush HD Sculpting and Painting Now that the model is in its final pose. On this model. divide the girl model two times. Then. . This works almost exactly as for normal subdivision. and all the details necessary to add exactly the realism we want. A circular area around the mouse has been selected. The number of polygons of this area is determined by Preferences:Mem:MaxPolyPerMesh. but keep the portion of the model that is being worked with at any time to a size that leaves your system responsive.

and the Alpha Brush 15. The first solution is to use a simple brush.You can detail the skin grain in two different ways. and a little help from Jpeg Enhancer to remove Jpeg artifacts from photos. Or. and do a High Pass filter to remove all the relief and shadows but the skin grain. Open the original photo in Photoshop. For this. Here's what to do: 1. you can capture it from a photo Creating an Alpha From a Photo It's easy to create an alpha from a photo and to use it as a stencil or as a stamp with a 3d brush. a spray stroke. which will allow you to both sculpt and paint your model. you will need two additional pieces of software.Psd format and open it as an alpha in Zbrush . Photoshop® or something similar. Save the picture in .

The new alpha is stored in the alpha palette. Switch to the Layer brush. set it to be the current stencil using the Alpha:Make St Button. and activate the ZAdd Button.2. using the Alpha:CropAndFill button. Press and hold the Alt key (which is a shortcut to access the Smooth sculpting brush). or a portion of it with the MRGBZ Grabber tool. 3. 6. 2. Set Alpha:Alpha Depth Factor to a value between 2 and 12. Create a New Document. Adjust the Alpha curve to get a nicer depth effect. by pressing the Shift key while you rotate the tool. We are going to need it to stylize the hair. It may vary according to the shading of the picture. 4. select Alpha 15 and a Spray stroke. draw a 3d plane on and parallel to the canvas. Creating an Alpha Manually and Using It With the Edit Brush In some cases. Select the GlowBrush Tool. and use the tool on your document to smooth it. 5. 1. and fill the document with the Alpha. . Storing depth history will allow us to add a constant depth layer. You can easily snap a tool by rotations of 90 degrees. and Store Depth History. 4. and to make it look like a clay sculpting. If you intend to use this Alpha as a stencil. 3. except for the creases. Grab the whole document. you will have to create your own Alphas from scratch. Change its size to 400 * 400. Now.

Because it's possible to create an Alpha from any part of the document. 6. Drawing. Now. 10. and repeat the operation one or two times. gives a tileable alpha. by paying attention not to draw on the edges of the Canvas. and stencils. and repeating. and use the grabbed picture as a brush. Displace vertically the canvas. . On the Layer Palette.5. Note: With this technique. Open the Stroke menu and activate the Roll option. When you're fully satisfied with the result. which looks like clay. press Alpha:GrabDoc. you can also convert any visible object. select the Clay brush and the new Alpha you just created. 7. 9. 8. This will allow us to create tileable alphas. Draw an additional stroke. textures. you can create your own Alphas. Draw a first stroke. You are now ready to give the hair a detailed look. switch back to the girl model. scrolling the canvas vertically.

the eyes and lashes Subtool. in Zbrush. and we will need the help of the Zapplink plugin. you can't render multiple subtools at the same time. .The rest of the models presents no technical difficulty. The blue tattoos of the girl are sculpted and painted using the Lazy Mouse mode. 1. Create a new document which will have the size of the final image. we are going to snapshot each HD subtool on a separate layer. Creating the Illustration Actually. place your tool on the document. To do it. and switch off the visiblity of the girl. which gives us perfect smoothed curves. The hair is sculpted in HD using the Clay brush with lazy mouse mode too.

and Snapshot the tool on the layer. store the position of the tool on the Custom 1 view. open the Geometry HD subpalette. 7. .Switch on the visibility of all the subtools. The whole model is displayed in HD. 6. in the Render menu. Open the Layer menu and create a new layer. 3.In ZAppLink. and recall it's stored position using the Zapplink Palette.Select the Set subtool. Open the Transform Palette. set the Flatten option Off. Draw your model on this new layer. Now. which is the bigger one. 5. 4. and press the Sculpt HD button.2.

10. render it in HD. and turn Edit Object mode off. Turn on Set. 9. Rendering the Shadows To have a better control over the final image. Select the girl model. and save the related alpha. 11. Paint the Set subtool and the two red balls subtools with this transparent material. 12. and save another picture. . 13. We will use them as masks later in Photoshop.8. The HD model of the set should appear on the underlying layer. Save your document. grab the document again. In the Alpha menu. 14. Export the Document in Tif or Psd Format. we are going to need to render the shadows on separate layers. Select a BasicMaterial and set the Specular and Transparency values and the Transparency curve as shown. Turn off the Set subtool. grab the document. 8.

Diffuse.To do it. Diffuse curve and Specular parameters as shown. but don't worry. and set the Ambient. . This kind of material doesn't have any shading. The picture should look completely white. select a new BasicMaterial. but will catch the shadows.

Drag the small yellow rectangle to change the placement of the current light.tif or .To use the Light menu. two lights will be enough to get nice shadows. and click again to turn it on or off. Switch on the ZMode only for the key light. and also shows the combined effect of all lights currently turned on.psd. click on a light to select it. one front light and one backlight. or vice versa. When you're fully satisfied with the result. and export the document as . click it to toggle it from a front light to a backlight. On this Document. The placement sphere in the upper left of the palette shows where the currently selected light is placed. Compositing and Final Touches . Here are the five pictures you should have saved. render each light separately.

165 times. and to composite the sky.In Photoshop group the shadow layers together. and set the Blending mode of this group to Multiply. Use the second alpha picture to mask the background. That's all.zbrush.info/docs/index. The drops of water are simply painted in Photoshop. 22 May 2007. and to the backlight layer a blue tint. This page has been accessed 8. give to the Key shadow layer a parma tint.php/Tutorial:_Birth_3" q q q q q This page was last modified 22:40. Retrieved from "http://www. Then. Privacy policy About ZBrushInfo Disclaimers . Set the Layer Style to add Drop shadow and Inner Bevel effects. Use the Alpha picture of the girl model to create a mask so that the backlight shadow layer dosen't affect the Set.

Tutorial: Pinup From ZBrushInfo by Alex Huguet Contents q q q q q q q q q q 1 Basic Shape with ZSpheres 2 Adjust Topology in 3D Studio Max 3 Sculpting in ZBrush 4 Sculpting II (The Face) 5 Posing 6 Clothing 7 Texturing 8 Displacement Map 9 Exporting the Model 10 Back to 3DS Max .

Basic Shape with ZSpheres In this first section we are going to use ZSpheres to create a basic shape for our character. Go to Tool:ZSphere and drag a sphere on the canvas. press t on the keyboard to go into edit mode and then press x to activate the symmetry on the X axis. . after.

Click and drag again to create another sphere on top of the two last spheres. to add new spheres on it.Click and draw on one side of the ZSphere while in draw mode. the first sphere that we created is will be the central part of the body (the hips). . From this new sphere that we just created we will extrude the legs.

Now we have the legs created. We press q again to go back to 3D edit mode.Now press w to go into move mode and move the last spheres down. to add a new ZSphere which is going to be the knee of the model . now we can click on the middle of the legs.

Add another ZSphere at the end of the leg and move it as in the image to get the foot. .

Using the same procedure we will create the spine and the arms of the model. as seen in the image. and also the head. .

We will now press a to see what our mesh is going to look like. .

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and we will add more ZSpheres.We press a again to go back to the ZSpheres view. . on top and bottom of the knees and also on top and bottom of the elbows.

we can just click on Tool:Export and choose where we will save the obj file. To do so.Finally. and now we are ready to export our low res cage to 3D Studio Max® to refine it. . so we click on it and it will replace the ZSpheres model by the new one. Adjust Topology in 3D Studio Max Next we go to the tool palette and we will find there our new model created from ZSpheres. press Tool:Adaptive:Make Adaptive Skin to make a new mesh based on the ZSphere model. By default this new model has two levels of division so we will press Shift+d to go to the lowest level.

obj file. add some loops and create the proper fingers/toes as shown in the image. After this. Sculpting in ZBrush . Take your time in doing this and place carefully new loops where you think you may need them. and setting the dialog as shown in the image. import our obj mesh into 3dsmax and with its polygon tools we will edit the shape. using File->Export Selected.Then. we will export the mesh into a .

Leaving 3D edit mode is needed because if we try to import an external model while a model is already active. We can also press Shift+f to show the wireframe on top of the mesh. Go to Tool:Import and import the file. . Now we are ready to import our new mesh. Press t to go back to 3D edit mode and we are ready to sculpt. drag on the canvas to put a copy of it on the canvas. and in this case it won't work because their vertices don't correspond. Clearing the canvas simply gets rid of the image of the model that printed to the canvas when we left 3D edit mode.Back in Zbrush we press t to deactivate 3D edit mode and then press Layer:Clear to clear the canvas. ZBrush will try to import the external model 'over top of' the selected one. and then with that model selected.

by pressing Ctrl+d.At this point there are no secrets or special tools that I use to work with the model. Before starting to sculpt we will divide the model one time. . Smooth. I mostly use the Standard. and Tweak brushes.

paying special attention to raising the shoulders and starting on the proportions and shapes. .and we will now start the sculpting session. We will start shaping out the legs and the overall body using the Standard brush and the Tweak brush.

So unselect them (remove the mask) by holding Ctrl and clicking and dragging on an empty area on the canvas. At this point we make sure to have X symmetry activated. this selects (creates a mask for) the points in the leg. we will use transpose for this. in this way we will see what a great tool is this to reshape and adjust your models without having to leave ZBrush. set Preferences:Transpose:Blur Strength to 2. we will press x on the keyboard to activate it. Press r to go to rotate mode and then press Ctrl and click and drag on one of the legs. . and again select the legs. in case we don't.At this early stage I have decided to close the legs of the character a bit more. At this point we see that the legs are selected but the mask is too blurry. Then. that will enable us to pose it.

and the legs will move closer together. this is the transpose line that we will use to close the legs. and a line will be created. . Click in the middle of the last circle in this line and move it to the center.We click on the pelvis and drag until we reach the foot of the character.

and we should have something like this now: .We can press q to go back to Draw mode and then deselect the legs (remove the mask).

and smooth the hands and feet out a bit. so using the same technique as before. . After that we can go back to draw mode and hold Template:Ctrl to go activate the smooth brush. we will select the feet and using transpose we will rotate them and scale them down a little bit.At this stage I have decided that the model will be wearing some shoes with high heels.

Time to start giving shape to the head. and the torso. at this point it should start to be obvious that the model is a girl. . not a guy.

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press Ctrl+d again. . Keep using the Standard and Smooth brushes to give shape and sculpt the body.Now we can divide the model one more time to keep refining it. we will go now to activate Render:Preview and then change the material to better see the model. As you can see on the screenshots. we are not using the preview renderer but the fast renderer.

hip bones. I'm not doing anything fancy. At this time we start shaping subtleties such as collar bones. the rib cage blending into the belly. we subdivide again and keep sculpting. This is why ZBrush is so much fun.Once we're happy with this level of detail. Smooth. the process is straightforward and really feels artistic and like drawing. . just using Standard. and so on. and Tweak brushes.

start defining the node and eye sockets area. . and give more detail to the sternum.We keep sculpting the mesh. clavicle and shoulders area.

this will hide everything but the feet. we are ready to divide one more time and keep adding and refining the shape of the girl.Here is what the model looks like at this point: We are going to start shaping the feet at this point. notice the detail of the back and also . we will hold Ctrl-Shift and drag a rectangle across the feet. Going back to the overall model.

so we will go back one level of division by pressing Shift+d. And we keep shaping things out. working on the overall shape of the arms now and still refining some areas. Sculpting II (The Face) Ok at this time i think is a good idea if we start getting some detail on the face. ribs and breast area. like the hips.how we start having some nice detail going on on the belly. and the belly button area. .

. and by using the usual brushes we will start shaping the face.Earlier we started shaping the eyes and nose a bit. but I didn´t really like where that was going so using the Smooth tool I smoothed out all of that and we are going to start now again with the face! :) We will hide the rest of the body and keep working on the face now.

. At this point we can go up one level of division and keep working on it.The head and specially the face is a very difficult and delicate area. and hide the rest of the model again. To do it.. . Now we are going to divide the model one more time. as shown on the image. to get some more definition on the face. plus being a woman makes it even more difficult so we have to pay special attention not to make it too like a male. we will need to unhide all the model first by holding Ctrl-Shift and clicking on an empty area on the canvas. We can hide everything but the face by activating the new lasso tool and then holding Ctrl-Shift and dragging a lasso around the face. Then press Ctrl+d to subdivide the model.

Keep modeling the face.. trying to give some feeling of flesh around them.notice again that even at this stage you don´t need a lot of tools to create this model! We will add some detail on the lips.. and we can give shape to the eyebrows and to the sockets of the eyes and also the nose . still using the same few brushes.

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This is a very delicate area so you have to be careful here.We will start giving shape to the eyelids. You can see the evolution of the section in these two pictures .

After this we will start reshaping the ears. still with just the standard and smooth brushes.. .. giving some small details (like behind the knees. Here we have worked on the overall model a bit further.) and working on the hand in the very same way that we did with the rest of the body. refining areas.

. and in the same way that we did to adjust the model at the beginning. and adding some props.. we will be able to go back to the original version of the model. For the posing we are going to use transpose one more time. First save the file just in case we don't like the pose that we get. the trick here relies in finding .Posing The next step now is going be the posing of the character.

We will move down to the 3rd level of division to pose the model.drag on the leg to apply a selection mask. press x on to deactivate it since we won´t pose the model in a symmetrical way. At this point we have a model with 7 levels of division and we have nearly reached the 3 and a half million polygons. Then press r to go to rotate mode.an interesting pose/shape. and holding and Ctrl. If X symmetry is still active. in this way we will work with less polygons and anyway all of the details will be updated to the new pose once we move back up to the higher levels of subdivision. .

Click and drag on the leg to draw the transpose line. from the hip to the foot. until we have something similar to this: . and then rotate the leg by clicking on the middle of the bottom circle and dragging.

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. create a transpose line. apply a select mask. and use that to rotate the head.And we keep posing as shown in the next set of images: Rotate the head in a similar manner.

wrinkles are appearing and some bone structure is pushing the skin in ways that didn´t happen before. . We'll start with the boot.The rest of the model is posed in much the same way Once we have the final pose of the model. the second is the model after being posed. and also distortion in the shoulders and some other areas. which will be based on a cube and uses a simple image from the internet as a quick reference. Notice in these two images the main differences. A little bit of brushing takes care of those problems. we will have to refine some areas were skin is now folding. the first one is the model before posing. There's some skin folding around the ribcage. Clothing Clothing is the next step.

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choose the simple brush tool. where we'll adjust the boot mesh around the model. use Tool:SubTool:Append. . and then import the boot using Tool:Import. and then bring that model into 3DS Max.In ZBrush. Changing to the simple brush before the import ensures that the boot model doesn't overwrite an existing 3D model. Back in ZBrush. choose as a tool the girl model and draw it on the screen. The. Finally. choosing obj format and setting the dialog as we did before at the beginning of this tutorial. use Tool:Export to export the model at the third level of subdivision. Now we export the boot from 3DS Max using File>export.

. Now the boot is a subtool of the girl model. To edit the boot. it will become a lighter color while the girl becomes darker. and appears in the viewport. we click on its entry in the subtool list.and we select the boot from the popup list.

I also used the Pinch brush to get in the wrinkles. Now we will add the second boot. press Tool:Clone. With the first boot still chosen in the subtool list. .Divide the boot to seven levels of subdivision. In addition to my normal brushes. Here is a screenshot of the boot after adding all the details. and sculpt it as desired.

. So. The new boot appears in the list of the subtools but we can't see it in the viewport because the new boot is on top of the other boot. with the new boot selected in the subtool list we press w to go to move mode. and we can move the new boot by clicking and dragging inside the middle circle of the transpose line.and then add this new boot to the girl model using Tool:SubTool:Append.

we can then move it to where we want it. Now we need to recreate the lower subdivision levels that we just deleted. Notice how the slider for the levels is back to 7 levels. and we need to do that in order to apply the mirror modifier tool to flip the boot over. so press Tool:Reconstruct SubDiv a few times until we got our lowest level back. . For that we will first go to the highest level on the boot. which is done with Tool:Deformation:Mirror Once we flip the boot. by going to Tool:Geometry:SDiv and moving the slider to the right until we reach the 7th level. click on the Del Lower button that is just under the Sdiv slider. Then. This will delete the lower levels on the boot.Now we want to mirror it.

. This gives us a shorter left boot than the right.Holding Ctrl-Shift. drag across the lower section on the boot to hide everything outside that area.

Texturing . After this we can go up in our division levels to see that all of the detail is still there.Then go back to drawing mode by pressing q and use the Tweak brush to adjust the boot to the leg.

and press Tool:Texture:Colorize. In the Template:Tool:Subtool menu. Then. setting an Intensity of about 15 for the brush.At this point we have finished the model. making sure that the ZAdd button is deactivated and that the RGB button is active. and we are ready to paint the texture of the girl. We'll be using the capabilities of Zbrush to paint directly on the polygons. To start painting some color and pores on the skin. and press Color:Fill Object to apply that color to the model. Then select a skin color from then color picker on the left. . we will use the standard brush. Activate the polypainting by clicking on Tool:Texture:Enable UV. make sure the girl mesh is active. in the Material Fast shader material. in this way we will see the girl all in white.

and instead of the DragRect stroke we will use the Colorized Spray stroke.Next we will use an alpha brush. .

Now we can create the color map by clicking on Tool:Texture:Color to Texture . colur and displacement map to 3dsmax. by pressing Shift+d until until reaching the first subdivision level of the model. This will generate a proper set of UV´s in order to create our other maps.With just those settings and using different colors for skin tones. so go to the lowest level of division to create some UV maps for the mode. then press Tool:Texture:AUVTiles. we'll paint the entire model until we get something similar to what is shown: We are ready to export our model. We'll first export the color map.

Now we go to Texture:Flip V to flip the texture in the V direction since we will have to do it later on. otherwise.Once we have created the texture. . it will be automatically selected by Zbrush.

and then in the same dialog we click on Export and we save the texture map as a TIF file Displacement Map .

and then press Tool:Displacement and set the options as seen in the image. and then click on Export: Exporting the Model Now we have to export the model of the girl by going to Tool:Export and saving the OBJ file. again since we won't be animating this model we can just export the high-res mesh to make it easier to make a render. we will find it in the alpha maps. select it. We will go to the fifth level of division. and finally click on the Create DispMap button: Once the map is created. so we choose one of them from the subtool palette and set it to subdivision level 6. in this way I make sure that the displacement map is going to be very. very accurate.Next is the displacement map. Once we finish exporting the two boots we can go back to 3dsmax. The next task is exporting the Boots. first saving our . Since we are not going to animate the model I will export a medium resolution version of the model.

Back to 3DS Max .file in Zbrush. At this point we will load all of the OBJ files in 3dsmax and then we will build the rest of the props within 3dsmax.

modifier. modifier: .Next thing is to load the color and the displacement map on the model. But first I will add the displacement map that we created from ZBrush into an empty slot in the material editor and set the Tiling in V to -1 and the Blur area to 0.01. as seen in the image. Then go back to the original slot and drag and drop it to the Vray Disp. Notice that I'm using Vray as the render engine. so I will use a Vray Disp.

in this case 6.We have now to set the Amount value for the displace. and then remember to set the Shift to a value of Amount / -2 . . -3. so in this case.

.Now create a new material for the PINUP and add the color map to the diffuse color slot .

. And we are ready to make the the render! :) Here is the final render.. in this case I used two area lights as shown in the image: and create some materials for the rest of the objects.The next step will be to create some interesting lighting scheme. after some color tweaking from Photoshop®: .

with it and just a few brushes you can create some incredible images and models. Zbrush is very powerful software. Keep trying new things and you will get amazed on how fast you learn! . but as with everything in this life.S.Thanks everyone for reading and I hope you found this tutorial interesting! P. it may take time to do something that you find cool. so don't get discouraged.

—Alex Huguet Retrieved from "http://www.zbrush.info/docs/index. This page has been accessed 16.043 times. 18 June 2007.php/Tutorial:_Pinup" q q q q q This page was last modified 22:06. Privacy policy About ZBrushInfo Disclaimers .

1 Creating the Feathers r 4. Basic Form So the first thing I wanted to do was to go to the Tool palette and select a zsphere and begin blocking out the form. .Tutorial: Bird of Prey From ZBrushInfo by Joe Lee Contents q q q q 1 Introduction 2 Basic Form 3 Retopologization 4 Feathers r 4. I tried to surround myself with as much reference and inspiration as I could before taking the plunge on the Zbrush canvas.2 Sorting the Feathers r 4. I have great admiration for master bird carvers such as Floyd Scholz and I have always wondered if such wood carving techniques could be transfered over to the digital sculpting world.3 Fluffing the Feathers Introduction Before getting started on this project.0 have convinced me that this is as good a time as any to try. Some of the new features in the Zbrush 3.

then go to Tool:Subtool and Append the polysphere. which will help establish a constant reference when I later sculpt around the eyes. Store. reposition and press. Next I want to place the eyes. Select the polysphere subtool and scale and position to the proper size and location using the Transpose feature. I loaded up a polysphere which is now part of the selection choices in the library of tools. If it isn’t. Reselect the zsphere head tool. I usually check it in the Preview window to make sure the front of the head is facing out the z axis and right side up. . On this occassion. Checking reference for eye spacing and size is encouraged.Once you establish the direction of the head.

. Also the spacing toward the bottom of the bird’s bust was by far wider than that of the head area. that I noticed the nape of the neck was showing more rectangular spacing in the geometry than square. which can be pressed under Tool:Deformation:Mirror x. This will have an effect on my ability to try get consistent fine detail with the feathers even once the subdivisions are as high as I can go. It wasn’t long while I was blocking out the form. Select the polysphere copy subtool and press Tool:Geometry:Del Lower to clear away lower subdivisions of the polysphere. Retopologization I am definitely going to need to create new topology. I will refer to the main tool as ‘birdhead’. we can press Tool:Clone. You should now have a pair of eyes. This is essential to be able to mirror the polysphere copy on the x axis. The more equidistant the spacing through the body. This would be a good time to label your subtools if you like. The next part is just shaping the bird’s form and just kind of sketching out the qualities of a raptor. Select the zsphere head subtool and Append the clone of the polysphere.Once the polysphere eye is in place and selected. the more consistent the detail sculpting will be across the bird. and the subtool eyes will be distinguished as simply ‘left eye’ and ‘right eye’.

This was to make sure I had plenty of leftover geometry to secure into the head mesh when it’s built. and then press Tool:Rigging:Select and select the bird tool. Now: 1. Press Tool:Topology:Edit Topology and you are ready to begin creating new topology. Ensure Transform:Edit mode is on. 3. As you may have noticed. Select the bird tool with the subtool eyes and Append the new skin you just made and rename accordingly. This definitely helps speed things up. I overlapped some beak geometry onto the head. Because the topology in the beak area is significantly denser than the rest of the body and the physiology of the actual bird beak is different from the feathered part. 2. Note: Before building new topology. Select Tool:Zsphere and draw on canvas.To prepare for the retopologization. it seemed like an ideal place to break the two apart by creating separate topology. press Tool:Adaptive Skin:Make Adaptive Skin. . be sure x axis symmetry is on for both meshes (press ‘x’ to toggle). When you’re finished. I simply select the bird tool and ensure that only the birdhead subtool is active (and not the eyes).

By no means is the new topology the best solution for the form. To do this: 1. Make an adaptive skin and Append it to bird tool. Press Tool:Topology:Edit Topology and you can now reach geometry that was previously occluded by the rigging mesh. I needed to delete the rigging selection to gain access for closing the gap. 2. . 3. Press Tool:Rigging:Delete. Unpress Tool:Topology:Edit Topology. but it is certainly better than before.Next we’ll create new topology for the head of the bird. When it came to the opening in the mesh up by the bird beak. I then deleted the zsphere bird head tool from the subtool list and focused on trying to bring together the remaining subtools together to become more raptor-like. Closing this off gives me extra geometry to work with for making modifications between the beak and forehead if needed.

The first alpha I tried. Pressing Alpha:Flip H on any given alpha can also buy you one more alpha variant to break things up even more. made sure the feather was aligned to the top and the essential details were kept in the center. This time I decided to go with the sculpting brushes for nothing else but the fact that the DragRect stroke enables me to put down feathers quickly at any angle and size like the directional brush. I didn’t mind the top of the feather fading but I needed the bottom tip to be as crisp as I could get it. an eagle. I decided to increase the size of the alpha. I noticed that there was an auto fade that caused a loss of definition at the tips of the feathers. I didn’t know if I would go with a stencil technique or use the sculpting brushes. I then start to make note of the feathering of these types of birds. I then made a few more feather alphas for added variety so as not to have any major discernible repetition. Creating the Feathers When I started looking into the feather options.Feathers After spending much time trying to fine tune the qualities that make a bird. The next section will go into time spent preparing the alphas and figuring out the layering process. After trying the first test alpha feather. .

Return to the bird tool in Zbrush. We’ll save the BirdHead subtool as a backup and move it down the list using the arrow keys which are located at the bottom of the subtool list. I renamed one clone FeatherSet.01 and the other FeatherSet. Now clone the Birdhead subtool and Append it twice to the subtool list. As a little safety precaution for the FeatherSet subtools. Z Intensity = 25. we’ll click Tool:Layer:New for both subtools. Click and drag feathers in the direction they would flow on the actual bird. we can always slide the layer slider back to 0 and start over.02. Brush:Std. In this case. Stroke:DragRect. 7 was the highest used. with Zadd. A morph target is also a good alternative if it’s not already being used. . Now set: q q q q Alpha = the feather alpha. Space them so that there is minimal overlap or at least little to no noticeable overlap of the feather details. Now if anything should go astray. and subdivide to level 6 or 7.

we can begin painting a mask on the undisplaced geometry. Adjust the Z intensity of the standard brush to 28 now and draw a new set of feathers through the FeatherSet.01 subtool a good first pass. This makes it possible to slide the top of the feathers under existing feathers. Work your way around until the bottom straight edge is masked. However. select and turn on the visibilty of FeatherSet. when feathering the front. Once the bottom feathers around the neck are placed in a fairly filled out fashion. . Begin with either feather subtool while the unselected subtool is hidden. When you have given the FeatherSet.01 remains visible.01 subtool until they appear to overlap (or underlap) the feathers of FeatherSet. and back views.01.02 while FeatherSet. the displacement intensity of the outer edge is less than the center. press Tool:Masking:Inverse followed by pressing Tool:Masking:HidePT. it will become apparent when to turn off the symmetry and go freestyle. Due to the nature of the auto fade of the sculpting brush alphas. You may find you can get away with applying these feathers with Transform:>x< on to activate x axis symmetry. top. When masking is complete. Don’t forget to horizontally flip your alphas if the bow of the feather needs to run the other way.Cycle through your feather alpha collection finding the best alpha with a curve in the feather that compliments the form of the bird.

I would frequently have either the beak or one of the eyes selected in order to view the feathers in the same value. You can toggle the visibilty of the two subtools to check if the masking was thorough enough. Invert Mask. you can turn on the visibility of the beak and both eyes to inspect the piece as a whole. Once both featherset subtools are completed. and HidePt. Repeat for the remaining FeatherSet and adjust masking if necessary.Left to right:Masking. Sorting the Feathers .

you can see it gradually lift out from the bunch. Tool:Morph Target:StoreMT. As we build up strokes over the feather. Alpha = Alpha00. I accidentally pulled too much of the underlying surface through the inactive subtool. Notice the crashing of the middle feather into the left most feather? To fix this we can first set a morph target in the selected subtool by pressing. Z Intensity = 15 with Zadd on. If you look closely. we’ll set: q q q q Brush:Elastic. .Next we need to tidy up the feather overlapping by either pushing or pulling the feathers that are not properly ‘settled’ such as the example shown here. To lift the middle feather out of the other. Stroke:Dots. leaving the feather’s detail.

Basically you just want to break up the silhouette and give a feel of some depth to the feathered area. Fluffing the Feathers Remember that extra subtool that was our backup. named BirdHead? Select it and make sure it is at the highest subdivision. You don’t need to cover the whole bird but check your reference. Create a New 3D Layer if you haven’t already done so and begin drawing on feathers like before except this time. and push back any over extended surface. they are not to touch each other. Give the model a once over and look for any more areas that need this kind of attention.Switch to the Morph brush. adjust brush size and intensity to suit. . We are almost to the end. the back of the neck is a good area along with the side of the neck. In this case. Turn the visibilty of the clones off.

move the Thick slider down to 0. Press Make 3D. go to E Smth and S Smth and slide both down to 1. Lastly.Now under Tool:Layer move the layer slider back to 0. You should now have a new subtool created based on the strokes just made from the BirdHead subtool resting on the very surface of the .

Select Alpha:Brush00. we’ll now brush over the layerskin feathers until they take on the detail of inactive subtool above it. Select Brush:Zproject. Invert the mask. Move the 3D Layer slider back to 1 so the feathers are visible once again. With Zadd on. . you can sculpt in more detail to make these feathers unique. Also make sure X symmetry is off for this part. If you wish. by rotating the model to where the area you wish to project is parallel to the screen. After you are satisfied with the indiviual feathers. Reselect the LayerSkin subtool with the feathers and press Tool:Geometry:Divide once. Create an action line on the feather by clicking near its top. and dragging to near its bottom. Set Stroke:Dots. and invoke Transpose mode by pressing ‘w’.subtool from which they were made. we’ll paint a mask over one of the feathers. Next: q q q q q q Return to the BirdHead subtool and make it visible. You can now use the Transpose rotate feature and lever the feather away from the body. You may find you get better results projecting.

. Clear the mask when done and select a new feather to begin the adjusting process. Feel free to turn the visibility of the Birdhead subtool on to get an idea of how much to rotate the feather from the rest of the body.Don’t forget the middle circle of the Transpose action line can be used to twist the feather on the axis of the action line. use the Elastic brush like mentioned above or even try the Tweak brush to correct aggressive clipping. turn on all essential subtools for evaluation. When you have all the feathers positioned. If there are still sorting issues with the feathers.

zbrush.info/docs/index. This may require retopology again but may be worth a try in the future.php/Tutorial:_Bird_of_Prey" q q q q q This page was last modified 23:00. I hope this tutorial was helpful and assists you in your getting desired results in your future projects.. A big Thank You to the Pixologic Team! Retrieved from "http://www. I would have liked to have tried consolidating the the subtools into fewer. 24 May 2007.And finally. by Zprojecting details from one entirely onto another. This page has been accessed 38.. Looking back in hindsight. Privacy policy About ZBrushInfo Disclaimers .171 times.

In the Preview window you will see what will be the front of the head. I settled on the Sphereinder3D tool. . Looking for a suitable base form for the hair. which has been a resident in the ZBrush tool library since I can remember. Going to Tool:Initialize. I set: q q Coverage to to about 270. I immediately opened the Tool:Preview window so I could see the changes I am about to implement below.SubTool Hair Sculpting Tutorial From ZBrushInfo by Joe Lee The following are some of my observations while learning the new features in Zbrush. It is my hope that this process will help shed light on achieving a unique look as well as open new ideas for other techniques. In the Deformation section. to 45. I set Rotate with only z highlighted. Blocking It In The goal was to add hair to a preexisting head.

Once it is in the general vicinity that I like. I pressed Preview:Store to make this the new default position of this tool. I pressed Tool:Subtool:Append to add the hair base to the Spereinder3D tool.Returning to the head. . Tool:Deformation:Offset was used to properly position the hair base.

The Nudge brush also speeds this process up as well. I then proceeded to block in the hair with the Standard and Pinch brushes. If you were to pull the front of the hair down the forehead some. I pulled on it with the Snakehook brush and a Dots stroke. you would notice some streching from the rest of the hair base.Now on to shaping the hair. Use the Smooth brush from the dense mesh area to the sparse mesh area and you will see it average out more cleanly. . You want to do this before dividing. Stroke was set to Freehand with a Mouse Avg of about 4 and the LazyMouse was pressed. Keep in mind that you want as evenly a distributed mesh as possible so I used the Nudge brush and Smooth brush to even things out as much as possible.

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If you plan on going with mesh projection later on. For this I used the new Convert To Main feature that has been added to the Zsphere tool. It’s up to you. But at some point you may want to make a polymesh 3D tool out of it. After selecting the Zsphere tool. You may need to toggle on/off the visibilty of the head subtool to get the look you want. I kept my hair base a primitive 3D tool until near the end after I divided it several times.The trick I was trying to pull off was the illusion of the hair growing from under the head so I needed to try to keep the beginning of the hairline just under the head. I wanted to give the hair base enough ‘runway’ to start a stroke under the head and get it to surface as a strand of hair. If you get to a point to where you are starting to like your results then save everything. Adding Strands of Hair with ZSpheres My next step at giving some dimension to the hair is to add strands of hair that appear independent of rest of the head. . it may not be necessary as you will most likely retopologize. I went down to Rigging where I pressed Select to choose the hair base ztool I just finished working on.

Go to Topology and press Edit Topology. You can now click across the hair base where you want the strands to flow. When finished with a strand. . I typed e (scale) and went back to click on the parent zsphere again to reselect it and then typed q (draw) to redraw a couple more strands from the origin.

When I was ready to start shaping the strands. I pressed Convert To Main under Topology. Now unpress Edit Topology and the zsphere strands should appear. .

. You will now want to scale individual zspheres to taper the size you see fit as well as move in and out of the hair base.To get them to appear thicker than what they are. press Scale and then hold down the Alt key while you click and drag to the right on the zsphere stem that lies between the first and second zsphere. This should grow the branch without scaling the zsphere's positions.

you can refine the integration of the strands with the rest of the subtools. When you are ready to append the strands to the rest of the head. Here’s an image to help see a process that helped define the hair strands. go to Rigging and press Delete and the zspheres will now be added to the Subtools. Once the zsphere hair strands are added to the subtools. .To cut the strands loose from the parent. Alt+q click on the stems that lead the parent zsphere to the strands. Don’t forget to use the ReplayLast stroke feature for emphasis and further definition of strokes you liked. The LazyMouse was a key player in carving lines down the curving strands.

step 4 works best if the model is not moved at all since step 2. Please post any insights or improvements you may have found as I too am still learning. On that note.Steps 1 and 3 are tool preparation steps. Good luck with your future creations! . I hope this walk through will help give insight to some of the new features in the latest version of Zbrush. Step 5 will help even out the mesh from all the pinching but should leave the newly created creases when the Smooth slider is set to higher than 50 (try 100 first). Step 2 works best if applied in a single stroke.

422 times. 20 June 2007. Privacy policy About ZBrushInfo Disclaimers .zbrush.info/docs/index.php/SubTool_Hair_Sculpting_Tutorial" q q q q q This page was last modified 20:23. Retrieved from "http://www. This page has been accessed 24.The finished model.

ZBrush 3's PolySphere was offset before release. We will use: q q q SubTools Transparency Masks .Sculpting A Skull With Image Planes From ZBrushInfo (Redirected from Tutorial: Sculpting A Skull) Please note that this tutorial uses a polygon sphere with its center at the origin. Click here for a polygonal sphere with its center at the origin. Contents q q q q 1 Introduction 2 Setup The Image Plane 3 Bringing The Image Plane Into ZBrush 4 Sculpting Introduction In this tutorial we will look at sculpting a skull using image planes.

Align your side view with the section marked Side in ImagePlaneTemplate. The second image from the top is a template that you can use to align your front and your side view.q 3D sculpting brushes Setup The Image Plane To begin this tutorial. Click the image to open a larger view. 4. Call it ImagePlaneTemplate.jpg. open ImagePlaneTemplate. 1. we must first prepare our image plane. 5. Then. Bringing The Image Plane Into ZBrush . Align your front view in the section marked Front in ImagePlaneTemplate. Our final image is below.jpg in Photoshop as well as the images you would like to use for front and side views. then right click the larger image and save it to disk. 3. Save your image plane with an easy to remember label. 6. You must keep each view in a square formatting and placed side-by-side.jpg 2.jpg.

Make sure that a ZTool is on the canvas and in Edit mode. Load the image plane you saved from above 6. simply draw it on the canvas and press t on the keyboard to enter edit mode 2. If not. . Press the ImagePlaneX button 5. Open the Macros sub-palette and then open the RapidStart sub-palette 4. Press Transform: Transparency to turn on Transparency The steps above utilize a macro created to make this process easier for the user.In this section we will bring the image plane into ZBrush as a SubTool and use Transparency to begin sculpting. 1. Visit the Macros page to learn more about macros. Go to the Macro palette 3.

you have to do the following steps: q q q q select the Flat Color material. ZBrush does not display the backside of the mesh where the surface Normals are not facing you. and change back to your modeling material. 3. Press the Save button in the Material Palette and save it to disk Select a Material that is not likely to be used like a Fast Shader. Press the Load button in the Material Palette. Note: you can assign the Flat Color material to a surface however. To enable this press Tool: Display Properties: Double. See below if you wish to use the Flat Color Material. and load in the Flat Color material. you may want to enable double-sided viewing. By default. such as Red . 4. If you do not want the image plane to share the same material as your model please follow the steps below: 1. make sure to select your main mesh.After adding the image plane. When you are done. select the X-plane subtool Select the desired material. In Tool: SubTool palette. Select M in the Draw Palette. This newly loaded Flat Color material will allow you to assign it to an object. 2. Press Fill Object in the Color Palette.

This allows it to be used to unassign a material to an object. You might ask why? The Flat Color material resides in the 00 index of the Material palette. Move the edge of the model in to align with the image. by assigning a material of 00 to an object it assigns no material to the object. Effectively. While dragging you can press SHIFT to lock the model to a side view.Wax. Select the Tweak Brush from the Brush Palette. . Rotate the model to the side view by clicking outside the model and dragging to the left. Sculpting Click here to download the movie.

Still using the Tweak brush sculpt the Front view. simply adjust your Draw: Focal Length to the level that works for you. Don't get into the interior forms yet. Focus mostly on the contour. .Turn to the front view and press Draw:Perspective. We are using Orthographic views so we will set our Draw: Focal Length to around 100 to remove as much of the perspective distortion as possible. If your image comes from photographs.

Moving back and forth between the side view and the front view will help you judge your progress. Here we have gotten farther along with the forms but we are still keeping it loose and very general. .Switch to the Standard Brush in the Brush Palette and begin working on some of the internal forms. The key is to know what you want to put in there but only suggest it at this stage. We will slowly make it more and more 'realized'.

Modeling With Your Texture by Ryan Kingslien (Quicktime required). (Quicktime required). In the video we use masks.At about this point. . You can use the tweak brush and pull the hollow of the eye backward or you can just use the Standard brush with Zsub on. Sculpting Tips by Thomas Mahler (Quicktime required). Remember to check the front and side views often to see if you are on track. To learn more about Masks visit the Mask page and the following video tutorials: q q q Sculpting With Masks by Cesar Dacol Jr. we start sculpting the orbit of the eye.

Press Tool: Geometry: Divide. The . Now we divide our model to get more geometry to work with. The Jaw is defined by the hard line and everything is still lining up with our image planes just fine.Here we have begun to bring the forms into focus a little more. At this stage we are using the Clay Brush set to around 30. Learn more about it in the Geometry Sub-Palette. Then start to use the RakeSmooth brush in the Macro: Macros: RapidBrushes sub-palette. We are using the Freehand Stroke and Alpha: Brush 28. The cheekbone is clearly marked.

The RakeSmooth brush is great for smoothing forms together and really getting in and developing the details of a model. Here we use the Ramtool brush preset. a custom alpha. Freehand stroke and others. This is another RapidBrush macro. This brush creates a very clean and deep stroke that we use to clearly define the temporal line and the outer edge of the orbit of the eye.RakeSmooth brush is a a preset of several settings: The Clay brush. .

The major forms are outlined. . We could now go further and create more specific form such as the teeth.Going back to the RakeSmooth tool we further develop the skull. We have refined the form and made the nasal area more clear.php/Sculpting_A_Skull_With_Image_Planes" q q This page was last modified 19:05.209 times.zbrush. Our final image shows the development we have done to date.info/docs/index. Retrieved from "http://www. 4 June 2007. This page has been accessed 23.

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Thanks to Plakkie and all of the other contributors! Contents q q q q q q q q 1 Introduction 2 Quickstart guide 3 General controls 4 Editing existing topology 5 Creating a topology mesh over a ZSphere model 6 Topology Mesh Extraction 7 Further Information 8 Frequently Asked Questions Introduction The retopo tool can be used with a number of different artistic or technical goals in mind.zbrushcentral. originally created in the ZBrushCentral forum thread http://www. You'll find additional information there.Topology and Reflow Lab From ZBrushInfo by Plakkie This is a user-created and user-maintained tutorial.php?t=44876. Consider the following usage scenario: .com/zbc/showthread.

If desired.An artist creates a sculpted mesh in ZBrush that originates from a ZSphere or Polymesh. the user can be creative without considering the base mesh. The artist factors in polygon loops. 4. animation. 5. By applying new topology to the target mesh. In the Tool menu two new options have appeared: Rigging. General controls (click means a standard mouse click. Quickstart guide 1. without taking the overall flow of the mesh into consideration. In Topology select Edit Topology.e. i. Click on the ZSphere tool in the Tool menu. To delete a point: ALT-click on point. Load in your model (must be a polymesh. .) q q q q To add a point: click on desired spot. Now you can start drawing lines. effects. and Topology. To select a point: LMB-click on the point. the standard primitives don't work) Go to 3D Edit mode . Andreseloy has made a ZScript to show the basic procedure. If the generated mesh topology (or polygon layout) is not ideal for the subject. press 'select' and select your model that you want to edit. In Rigging. Now a ZSphere will appear automatically. 2. To set a new starting point: CTRL-click on point. meshflow or seams of the target mesh. a low polygon mesh (retopolized) is retained. if it's not already active (t key). This mesh may also be subdivided and have details of the highresolution version projected on it. rigging and anything else that is important after creating the high resolution mesh. using the left button. The process of refactoring the polygon layout and tweaking a copy of the base high-resolution mesh is called retopolizing. 3. Please see video example at the bottom which illustrates the concept of mesh deformation abstraction. the retopo tool allows the artist to reconfigure the mesh to meet their specific requirements.

6. 3. Load the model you want to edit Select a new ZSphere tool. select the original model. In the Tool:Rigging subpalette. (If you don't.q q q q q To deselect a point: LMB-click outside your model. Note: Sometimes certain points won't move at all. it doesn't work! The original model can have as many subdiv levels as you like) 5. Clone your model. Chances are you have accidently masked them (you can't see this). Enter the Edit Topology Mode. and activate (optional) the Projection Mode. . — Thomas Mahler Editing existing topology 1. so that the model which will be generated is projected on the Template. (works best with larger draw size) To delete a connection-line without deleting the connected points: insert a new point in the middle of the line and delete that point. Make sure that the subdiv level of the cloned model is at 1 or 2. In the Tool:Topology subpalette. To scale points: go to Scale mode. 7. 4. To move points: go from Draw mode to Move mode. select the cloned model. To move more points together: increase the draw size. Unmasking the points makes them move again. 2. All the lines will show up.

5. et voila! So if you make a . click Bind. 8. 4. move a little bit and click again. Scale etc. Bonecradle has made this PDF tutorial showing this workflow on an imported . Now press Tool:Rigging:Select and select your new created mesh . and the key to it all: Local ZSphereSymmetry (Local Radial Count-Value determines how many lines will be drawn around the ZSphere skeleton). Preview the mesh with the a key. et voilà. connect them up. 9. Under Tools:Topology. Now select the ZSphere skeleton as the active tool and scale the ZSpheres somewhat smaller so they fit all inside the new mesh. To use the ZSphere skeleton as a rig to pose your new mesh. 11. Activate Draw mode. you transfer it into a skin mesh by Tool: Adaptive Skin:Make Adaptive Skin. and then turn it back on! Then you can add more mesh-zspheres. add more zspheres.) the skeleton again.With a big thanks to Francois Rimasson for his wonderful tutorial! Here's Plakkie's ZScript showing how to edit existing topology. Around the ZSphere skeleton appears a topology! 7. After you have finished your topology mesh. —Crusoe the Painter Note: You can turn edit topology off. 10. then scale them back up. Creating a topology mesh over a ZSphere model You can create a skeleton of ZSpheres and wrap it with a topology mesh. In the Transform menu. Set your starting point with Ctrl + LMBclick on the desired spot on your ZSphere structure. Note that Edit Topology must be deactivated for that. the created topology will follow the rig. while still being able to use the ZSphere skeleton as a rig! 1. 6. click on Edit Topology. Note: When retopoing zspheres. activate the buttons: >X< . deactivate the button Edit Topology and you can deform (Move. Create a skeleton of ZSpheres just like the ones you use in ZSphere modeling. 3. Click. 2. under Display Properties you can size them so they show smaller than the skin/rig you are making. your mesh has a cool rig. You can also quickly shrink down the ZSpheres for doing things like fingers.obj file. release.

Setup a model for topologizing as shown above. etc. 2. some thickness. The new geometry can now be put into the subtool list of your original model if you wish. (a key. In comparison with the Mesh Extraction tool you have more control over the topology of the created geometry.bust. Smaller values. and later want to give it a body. Topology Mesh Extraction With the topology tool you can easily create extra geometry like clothing. Check it out! He also made this ZScript showing this technique. armor. thinner geometry. you can. 1. made by The Namek. This will give the geometry shown in preview. Here's a ZScript showing topology extraction. 3. . Set Tool:Topology:Skin thickness to 1. as long you saved the bust zsphere rig! —Crusoe the Painter Rastaman is currently exploring this under-documentd technique. When finished drawing topology press Tool:Adaptive Skin:Make adaptive Skin. 4. He's made a more detailed and illustrated tutorial.

Further Information Topology in action: q q Movie by Thomas Mahler Thomas does a nose job Frequently Asked Questions Q. Shows the polygons (The Namek) Extra info: Or the Frame button on the shelf. How do I show the wireframe model? Transform: Quick on and Transform: Frame on. (Plakkie) Q. . How to delete a point ? Alt Click on a point to delete it (Kramskoi) Q. Is there a way to weld the points ? Not at this time.

Is there a way to adjust your topology in Move mode while forcing the vertex moved to remain on the surface of the underlying model? Moving created points breaks them away from their on-model position. set Tool: Adaptive Skin: Density to 1 and Tool: Topology: Subdiv to 1. Is there a way to transfer the high sub details to the new mesh? Yes! Turn on the 'projection button' in Tool:Rigging. Is there a way to save a topology rig in progress? Just Deactivate the Edit Topology Button.. after reloading the ZTool. Is there a way to convert the original topology of a model into a Topo-ZSphere structure. just activate the Edit Topology Button again. So I deleted it. (Poda) While Edit Topology is on. When you project your old details onto your new mesh. I think Mbr defaults to 2 instead. is there any way to copy over your texture or poly painting info? Or do you need to do retopolgizing before you do any texturing/ painting? .Q. Something for ZBrush 3. (Mouse_art) Q. At the moment it seems like that's inevitable.5? (Plakkie) Q. you can press Shift and draw on the model to automatically draw topology lines from the existing topology. Q. The weird part was that I could not get Reconstruct Subdiv to work on the skin. and work further. (Mouse_art) Extra Info:you have to set Adaptive Skin Membrane (Mbr) to 0 if you want the low res for your new mesh to match the poly count from your retopo rig. (Ladysoul) Q. so you can edit it a bit instead of having first to draw all the topo-lines? Yes! The procedure is explained in detail at the top of this thread under "Editing existing topology" (Poda/Plakkie) Q. and then save the active ZTool. I figured that out the first time I created a skin from my retopo rig. Is there a way to create a mesh from the topolines that match up exactly? To use the exact amount of polygons as you draw. changed the Mbr setting to 0 and made a new adaptive skin. as demonstrated by Bisenberger.

Q. I'd rather have metablobs I can retopo (like Blender). I think i tried Ctrl+LMB clicking directly on the edge and something bad happened. With the topology tool you are making new geometry. When I hit the "edit Topology" button. Those tools would really help with retopoing zsphere armatures. Q. faster way. but not now. i tried to create a new topology as described on the wiki. by taking the topology of Subdivision lvl 2 of the Mesh. and thus your polypainted info doesn't apply on the new model. [more a statement really ] You masked them by accident. (Crusoe the Painter) Q. Anyone had different experiences? (Plakkie) You can use the ZProject brush to transfer details from one SubTool to another. Before hitting the button the skin was ok! Does anyone know why this happens and how I can fix this? Solved this problem.. Lvl 1 didn't work and gave those strange holes. polypainting stores the color information directly 'in' the geometry.. Hit it twice if it doesn't go off at first. "edge ring". ? Maybe some day. Q. The mesh/tool was created in ZBrush 2. yet. (Train22) .. i got a skin with lots of holes in it. When shifting topology vertices away from the mesh some of them seem locked. I think it's a good idea to do the texture/paint part after you have made the new topology. than trying to use Adaptive skin with ZSpheres to get a clean mesh..If I understand correctly. Appending the new topology to the old topology as a SubTool will allow you to use the ZProject brush to do this. couldn't move them at all. "making strip" "split". Are there some functions like "edge loop". The edge gets deleted in the process. Those things are still causing problems. I don't know about texture maps. Press Tool: Masking: Clear to unmask your mesh. What's the quickest way to delete edges? I am currently adding a new vert in the middle of the edge and deleting (Ctrl+LMB click) that. After working a little bit with the new topology tools. and I don't know why. This seems to work fine but I would love to have a simpler.

Privacy policy About ZBrushInfo Disclaimers . Depending on your needs.info/docs/index. Retrieved from "http://www. Q. 15 June 2007. I couldn't find any logic to see when it will be open and when closed. How to know from the beggining what kind of mesh you are making? Try setting Tool: Topology: Max Strip Length to 4. This page has been accessed 13. What do the Hide and Bind buttons in the Rigging and Topology menu do? bind: allow to move the mesh reference. It works only when there is a topology present. starting point for the mesh is defined with Ctrl + LMBclick. sometimes it starts open (pipe shape).. Is there any use for the Rotate mode? None found. but when I tried it I get a "mask" tool because Ctrl is pressed. you can turn this on or off with the Max Strip Length slider..234 times. by default.php/Topology_and_Reflow_Lab" q q q q q This page was last modified 01:13. Q: When making topology over zspheres sometimes my mesh is closed (glass shape). Is it possible to mirror an existing topology mesh? Not at this time Q: In section " Creating a topology mesh over a ZSphere model". ZBrush. you see the result after adaptive skin preview. It's like lottery. than you can click anywhere on the structure and it will start adding the topology). allows you to create a minimal number of topology lines that it will try to connect for you.zbrush. but if there is no topology made. (Andreseloy) Q.Q.

http://www. It can be used to quickly simulate a texture from a photograph or rendering.com The Material Capture function in Zbrush 3 is an excellent way to sample the lighting and material of an object. or as a shader meant to seamlessly composite Zbrush rendered 3d objects into photographs. . and then can be as either a real time shader.Tutorial: MatCap Skull From ZBrushInfo by Meats Meier.3dArtSpace.

the first step is to find and prepare a photograph of an object with a material that you would like to simulate. the better the results will be because of course there will be more information to sample from. as well as texture and cavities. and you can get a more realistic result. The more information in the photo.1. Identify key areas of the photo. such as clean areas that show the pure surface color.To capture a material. .

such as . In Zbrush. place it near the original. Prepare the image in photoshop. and darken it to make sure that I have dark areas that I can sample from for the cavity creation later on.bmp. or .2. and fill the screen with the image using Texture:CropAndFill. .jpg. select the flat color material. . I bring in the image with Texture:Import. I sometimes copy a version of the object. psd. and save it as something that Zbrush can read.

but do not cover any of the parts of the image you are trying to capture. this lets you quickly see if your material is behaving like the one in the photo. 4. . Select one of the real time shaders (the main red wax is fine). This is the material you'll be modifying to create your own MatCap material. Place objects around the object. It can also be very helpful to place 3d objects on the canvas that are roughly the same shape as the object itself.3. Select the MatCap tool in the Tool palette and then open and dock the Material Palette.

.In these next steps. The lines show some of the normals I defined when estimating planes in the image. you will sample different angles (normals) of the object in the photograph.

5. We'll first sample the only pure color information in the photo. and interactively shows the effect of your sample as you position the normal. and cavity areas of the image. you will do many samples.The lightball in the center of the main skull image appears when you are sampling. MatCap A is the color information. Making sure the Tool:MatCap tool is still selected. you will see the temporary shader ball become closer and closer to the photograph. As you make more and more markers on all visible angles on your image. We'll actually end up creating two shaders in the material--MatCap A and MatCap B. left click on a point the background image and drag the mouse around to define a surface normal. Avoid shadow. and they will all work and blend together nicely). and MatCap B is the shader we'll create a bit later that Zbrush will user when rendering cavity effects. (See MatCap Basics for a fuller explanation of sampling points. specular. Let the mouse up when you have a normal you think reasonably close to the real normal of the object in the image (don't worry about precision.) .

(MatCap Basics discusses this in more detail. and then move your mouse left and right to control the "hotness" value of the shine. etc. color is shown in . try changing some of the gloss. You can also determine how much cavity vs. press the Material:Modifiers:B button to tell Zbrush that we would like to work on the secondary shader. find the brightest parts of your photo. intensity. sliders in Material:Modifiers to bring the shader closer to realism. The sampling markers on the 'dark' upper left image of the skull show where cavity samples have been taken.) At this point. you can press the Ctrl key after you drag out a vector but before releasing the mouse. cavity. 7. To create the cavity part of the shader.6. darker. To add the highlights. or cavity areas. and sample them. You can also do a overall darken by just lowering the Intensity slider for a quick. To adjust the highlight itself. refine. Adjust the cavity detection and transition sliders in Material:Modifers to see the effect of the Material:Modifiers:B shader. Now is the time to sample the dark.

8. is also included for your tests.Material:Modifers. My material.zip.ZMT. Save the material for use next time you use Zbrush by pressing Material:Save. Image:Sculpy mm. .

zbrush.298 times.php/Tutorial:_MatCap_Skull" q q q q q This page was last modified 20:49. This page has been accessed 11.Retrieved from "http://www. 23 May 2007. Privacy policy About ZBrushInfo Disclaimers .info/docs/index.

Contents q q q q q q q 1 ZBrush Modes 2 The ZBrush2 Window 3 Palette Basics r 3.2 Subpalettes 4 The Title Bar 5 Trays (Palette Docking) 6 Tools and Other Inventory Lists 7 Curves r 7. understanding ZBrush Modes is so fundamental to using ZBrush that you should read that page before anything else.1 Curve Quick Reference r 7.Introduction to the ZBrush Interface From ZBrushInfo The key to getting the most out of ZBrush is to be able to get around the interface quickly and easily. It is well worth taking the time to explore this chapter before proceeding to the other tutorials. ZBrush 2 has introduced many enhancements to be more intuitive and faster than ever to use.2 Curve Tutorial ZBrush Modes While not really part of the ZBrush interface.1 Palette Controls r 3. The ZBrush2 Window .

like much of the rest of the interface. This is the Palette List. Completely surrounding the canvas and ZScript window is the Shelf. Each palette contains a group of . The Shelf. where ZScripts load unless they are designed to embed their components within the interface. All of ZBrush’s functions are contained within palettes. Pressing the Tab key again will bring it back. q To hide the Shelf. The Palette (Menu) List near the top of the window provides ZBrush's menus. Immediately below the canvas is the ZScript area.In its standard configuration. can be customized to suit your needs. This provides a handy space to keep the most commonly used interface items. press the Tab key on your keyboard. We will deal with this in detail in a later section. Palette Basics Beneath the title bar. and Trays on either side of the window can be used to dock the menus. This area is where you will do your painting and modeling. By hiding the Shelf. you are able to reclaim almost the entire interface for your canvas. there is a row of words that spans the top of the screen. providing a great amount of room to work in. the ZBrush window is mostly taken up by the canvas. The Title Bar at the top of the window provides information and a few miscellaneous controls.

Switches are interface items that can be turned on and off. Within the palette. q q Move your pointer off of the palette to close it. Palettes only remain open as long as you keep the pointer over them. and also show where it fits within the range by a small indicator at the bottom of the slider. This provides immediate online help about the interface item. the switch is shown as dark gray. it is orange. clicking a control may close the palette. and the maximum value is to the right. Palette Controls q q q Buttons are shown as a light gray raised object. Pressing a button causes something to happen. these functions are further broken down into groups in order to help make it easier to locate the particular control that you need. Move your cursor over any interface item and watch the area beneath the palette list. In a few special cases. . They show the current setting as a number next to the slider’s title.related functions. When on. In most cases clicking on an element within the palette will not close the palette. The minimum value is to the left. This allows you to change several settings without having to constantly pull the palette down again. q Move your pointer over one of the palette names to open the palette. Sliders allow you to set a ranged value. When off.

click in the 3D Shading slider and drag to the left to set a value of 50.r r In the Render palette. These menus contain controls that are all related to a specific task within the palette’s more generalized categorization. By dragging within empty space in the palette. When it changes to up-and-down arrows. q In the Render palette. you can slide its contents to reveal the hidden items. Subpalettes In order to further help with organization. click the word “Antialiasing”. q Open all of the menus within the Render palette. Clicking on a menu’s name will expand or collapse it. click and drag up. Move the pointer into any blank space within the palette. You can also set a slider value without dragging simply by clicking in it and then typing the value that you want. Click the 3D Shading slider and type 100. also known as subpalettes. Palettes can sometimes get to be so long that they go off the bottom of the screen. The slider value will update as you move the slider. The Title Bar . many palettes contain menus.

q To open a tray. click along its outside edge. Trays (Palette Docking) ZBrush provides many ways to make your workflow easier. there is a pair of arrows at the vertical center of the interface. For example. when ZBrush is performing a complex action such as a best-quality render. However. you might find that you return to the Tool palette frequently. These trays are used to keep palettes open continuously. it will provide helpful suggestions for what to do next. and finally an orange bar showing a graphical representation of its progress. how long it has spent on that action already. Other times. This area is meant to provide helpful feedback while you work. When working with palettes. In most cases. if you are sculpting a model. In the example shown above. the title bar will provide several kinds of feedback at once.The area between the palette list and the top part of the Shelf is called the Title Bar (or Note Bar). there will also be times when you need to repeatedly return to a particular palette. it informs us of the type of action being performed. Also. how long it estimates will be required to complete the action. . To help you find the right spot. you will normally find that they are more convenient as pull-down menus. ZBrush accommodates this need by providing Trays on the left and right sides of the interface. the title bar will show you the name of the current interface item.

To collapse a tray. click its handle. click its separator bar. If both trays are open. the palette will automatically go to the top of its preferred tray. . Clicking on it moves the palette to the top of the open tray. To remove a palette from the tray. The palette will now stay open while you continue to work on the canvas. It will still be waiting for you if you expand the tray again. This allows you to use them however you see fit. Click on the orange circular icon. This is handy when you have both trays open and want to put the palette in its non-preferred tray. You can also drag the handle to move the palette where you want it. In the default configuration. Doing this leaves the palette in the tray. or if you wish it to be below other palettes that are already in the tray. open it and look in the upper left corner. If neither tray is open. both trays are empty. Some general notes about trays: q q Each palette has a preferred tray. q q This orange icon is called the palette’s handle. You can also use the handle to move a palette from one location to another within the tray.q Clicking this separator will expand the tray. clicking on the handle will open the preferred tray and move the palette there automatically. To move a palette to the tray.

its appearance changes slightly. This conserves room when several palettes are in a tray. Its icon appears to the left of the palette’s name and the handle moves to the right. it will temporarily disappear from the tray and will reappear once its pull-down counterpart closes. Next to the handle. If you would like to simplify the palette so that only its most basic features are available. we'll give a quick example of how inventory lists work using the Tool inventory. q In the Tool palette. simply click in any empty space within the palette and drag up or down.q q q q When a palette is in a tray. If you do this. . We have now changed the active tool from the Simple Brush to the Sphere3D. A palette can only exist in one place at a time. there is also now a small icon with a triangle in it. select the Sphere3D. it is not uncommon for them to scroll off of the screen. A palette that is in the tray can be expanded and collapsed by clicking on its title. If you have a palette in the tray. Tools and Other Inventory Lists ZBrush uses Inventories to allow selection of objects such as tools. click this icon. When several palettes are in a tray. To bring items back into view. etc. click the large thumbnail. Clicking the icon will toggle between the palette’s basic and advanced states. q In the popup menu. texture maps. you can still access it as a pull-down menu from the palette list. Below.

also known as curves. To restore the palette to its starting number of small thumbnails. Double-clicking on a small thumbnail will allow you to replace it with a different item from the popup menu. Curves ZBrush graphs. These small thumbnails provide shortcuts to recently used items. . their large thumbnails are also located on the left side of the shelf. You can reselect that item by clicking on its small thumbnail rather than going through the popup menu. more small thumbnails will appear. Due to their versatility. provide a visual way to modify a range of values. As more items are selected. The active item will always be highlighted with a teal background and a small triangle in its lower right corner. click the R button just above all the thumbnails to the right. For your convenience. curves are found throughout the ZBrush interface. a small thumbnail of it is added to the palette next to the large thumbnail.Several palettes use this thumbnail system to select things. Once an item has been selected the first time using the large thumbnail.

etc. Curve Quick Reference The diagram below gives a quick visual reference as to what different types of clicks and drags do when using curves. defining how fog or depth cue acts throughout a scene. . They can be found in nearly every part of the ZBrush interface: material modifiers. defining the falloff of the sculpting tool. The step-by-step tutorial below will take you through these various types of manipulations.A curve in ZBrush is simply a graph showing a range of values.

arrowheads show where the mouse button should be release. dashed lines indicate dragging.Blue circles indicate a mouse "click and hold". Curve Tutorial In this tutorial. place the Alpha palette in either tray. We’ll be adjusting the curve constantly while working through this tutorial. we’ll work with one of the curves that has been introduced in ZBrush 2: the Alpha Adjust Curve.” q q Begin by reinitializing ZBrush. . As you will see. so it will be easiest to keep it open rather than having to pull it down again each time. (Preferences:Init ZBrush) For convenience. your paint brush -. this curve makes it possible to modify the current alpha and with it.“on the fly.

q Click where it says Alpha Adjust. we’ll draw an example of the alpha on the canvas. In order to conserve screen real estate. So that we can better see the results of our edits. simultaneously closing any other curve that might already have been open elsewhere in the interface. q Select the DragRectangle stroke type. curves are normally displayed in a compressed state. Clicking on the curve opens it for editing. . Use the thumbnails on the left shelf to work faster: q Select the Simple Brush. Only one curve can be open at a time.

q q Press Ctrl+F to fill the canvas with the current material and color. Select another color (such as blue). q Also set the Z Intensity (on the top shelf) to 100. .q Select the Toy Plastic Material. q Drag a large stroke on the canvas. q Press W to activate the Move gyro. then position the stroke so that it’s pretty well centered on the canvas.

which give a far greater range of values than the standard 0-255 range of an 8 bit image. our changes to the Alpha Adjust Curve will also update the example on the canvas. When exporting a displacement map. with black at the bottom and white at the top. An alpha is simply a grayscale image. let’s clarify what an alpha is. This is an important principle of the gyro: it allows you to make changes to many of the components that were used to draw the most recent stroke. which in turn changes the alpha. First. each ranging somewhere between white and black. The vertical portion determines how those values are output. with black on the left and white on the right. Now we’ll go back to paying attention to the curve. which also supports the 16 bit range. an alpha is an array of pixels.ZBrush uses 16 bit grayscales. The Alpha Adjust Curve provides a way to interact with those values. The horizontal portion of the curve represents the current grayscale values of the image. . it is crucial to use the TIFF format. More precisely. While the gyro is active.

the curve is made up of only two points. What this did is tell ZBrush to output black (left side) as white (top) and white (right side) as black . they can only be moved vertically. Any point on a curve can be moved. Right now. the curve simply shows a straight line from the lower left corner to the upper right. Since they are the end points. Move the upper right point to the lower right. Anything falling in between is also output exactly true to the alpha.At this point. That means that any alpha values that are black will be output as black (lower left) and any values that are white will be output as white (upper right). q Move the lower left point to the upper left by clicking on it and dragging. Let’s put it to work.

the curve has been reversed. q Drag the new point around to see how the curve is adjusted by it. In effect. watch how it affects the alpha and what you’ve drawn on the canvas. .(bottom). As you move the point. q Click the Reset button to restore the alpha to its original state. The yellow circle surrounding it represents the point’s area of influence on the curve. and the current alpha has been modified along with it. q Click any point along the line between the two existing points. This adds a new point to the curve. You can see the changes both in the alpha large thumbnail and on the canvas. then finish with something like the example below.

q Now drag the point off the curve and without releasing the mouse back on again. you’ll notice that the curve can end up shooting way up off the top of the graph. That’s due to the point’s radius. and then adjust its position or radius. drag to resize the circle. click on the circle surrounding it. Simply click on it to make it the active point. moving it above and to the left of the last one. q To tighten the point. Any point can be modified at any time. .q Now add another point. If you move the point too far to the left. When it turns orange.

Radius no longer applies. and the line going out the other side will still be curved. move your mouse anywhere off the graph. allowing you to make fine adjustments. then click on it again. so the circle won’t be present. This zooms in on the point. . To return to a normal view of the entire curve. To make a point soft again.” The line coming out will be a sharp point on the side leading toward the angular point. it will be a sharp angle instead of a soft curve. q Remove the sharp point by dragging it off the graph and releasing the mouse. You’ll also notice that any points adjacent to it become “split. simply drag it off the curve and back on. q Now click on the point to make sure it’s active.When the point comes back into view.

watch what happens to the curve. you can see on the canvas how the noise was added. but the overall shape of the alpha remains essentially the same. This includes changes to the Focal Shift slider. q Adjust the Noise slider to .You’ll now be left with the three point curve. The purpose of this slider is to make it easy to quickly modify the curve without the need to move points around. The remaining controls are for inventory. The points on the curve will shift horizontally. q Click Undo a few times. q Immediately beneath the curve is a slider called Focal Shift.25 This slider affects the curve without actually changing any points. At this low value. the focal shift can dramatically alter the alpha. adding points and moving them around. Redo behaves the same way. but not vertically. Drag it to the left and right. When you move the slider. Watch how it affects the alpha and the canvas. This compresses the curve toward one side or the other. As you can see. . Even with the simplest possible curve (the straight line that we started with). Make sure that you have a few of them before you move on to the next step. Undo affects all edits made to the curve. and also the Noise slider. Go ahead and play around with the curve a little bit.

You can save a graph to disk for use in another project or for sharing with other users. This helps keep the interface from becoming cluttered. I say “graph” here because any graph can be loaded into any curve. click the Close button at the bottom. Notice how the new alpha is immediately modified by the Alpha Adjust Curve. q To close the curve. with copying graphs and pasting them into other places. save it for later. Feel free to experiment. also. the curve would also close automatically if you opened one somewhere else. The Material palette has many curves. q Now switch to alpha 19. If you create one that you really like. anywhere within the ZBrush interface. One area in which this is extremely useful is when you’re working with materials. and sometimes it is useful to place the same graph into several of them. Of course. That curve affects .

you will see that the previous alpha now looks exactly like it did when we started.info/docs/index. regardless of which one is selected. Retrieved from "http://www. Two things will happen. This page has been accessed 1. and is no longer selected.zbrush. The original alpha #19 is now shown in the thumbnail list in its unmodified state. 3 October 2006. Also. If you want to save it for another session. Second. modifying the Alpha Adjust curve does not permanently change any apha. Privacy policy About ZBrushInfo Disclaimers . By default.the current alpha. It is automatically selected. use the Export button at the top of the Alpha palette. This new alpha will not remain if you initialize or restart ZBrush. click the Make Modified Alpha button. This restores the newly-created alpha to exactly what you saw before you clicked the Make Modified Alpha button.php/Introduction_to_the_ZBrush_Interface" q q q q q This page was last modified 20:18. the new alpha is also modified by the same Alpha Adjust settings! q Open the Alpha Adjust curve again and click Reset. q To convert the modified curve to a permanent alpha. First. if you look at the popup menu again. a new alpha will appear at the end of the thumbnails.304 times.

5D painting. Contents q q q q q 1 Create the Idol 2 Paint the Model 3 Lighting and Materials 4 Create the Idol's Shadow 5 More Materials Create the Idol .Tutorial: Rusted Golden Idol From ZBrushInfo In this section we’ll put the theory behind ZBrush’s 2. Now we’ll apply those principles to create a simple but fun project. we learned the basic principles behind 2.5D painting techniques to work. In the last section.

q Set the Tool:Initialize values. Color and material will then be used to paint the rust onto it. This material will be modified later to suit our needs. q Select the Basic Material. Select the Ring3D tool. We’re using it instead of the default Fast Shader because the Basic material has many more modifiers. and a Brown color. . we’ll create a background and use some ZBrush trickery to paint the shadow. Lastly. q q Press Preferences:Initialize ZBrush to return to the startup state.We’ll begin by creating the idol out of simple primitive shapes.

Use SRadius 39. only one marker can occupy any part of the canvas. Markers must be placed while the current object is active. it is too late to place a marker without redrawing the object. Twist 0. LDivide 64. If you try to place a marker too close to another one. . Also. q q Draw the object on the canvas. press Shift to snap it the rest of the way. q Rotate the half ring so that it curves up. Every native ZBrush object is parametric in nature. SDivide 32. When close to the desired rotation. Scale 1. Activate Rotate. Once you have switch to a new tool. the first will be replaced by the new one. This turns on the rotate gyro. This means that you can use the Initialize menu to set various parameters that influence the object’s shape. and ITwist 0. Coverage 180.

They are able to remember many details about a 3D object. . orientation. scale. q Select the Sphere3D tool.q Activate Move. color and more. material. q Position the ring near the top center of the canvas as shown. including its position on the canvas. You’ll see a small animation as the marker flies from the button to the center of the object on the canvas. to match the illustration. q Press Transform:Place Marker. Markers are a very powerful feature of ZBrush. We’ll use this marker to assist with positioning the rest of the 3D elements in the scene. Use Scale if necessary.

making it into a hemisphere. . This means that adjusting the Initialize settings will also affect the sphere on the canvas. Activate the gyro. q q q Draw another sphere. the object is in a transformable state.” q q Draw it at one end of the arc on the canvas. Activate the gyro.If you receive help message. q Position this small sphere so that it is embedded in the Ring object. select “Switch Now. While the gyro is active. Set Tool:Initialize:Coverage to 180.

. q Press Layer:Flip H to flip the layer horizontally. Scale and Rotate to flatten out the hemisphere and position it as shown. This new layer will be an exact copy of the first.q Use Move. q Move the duplicated layer so that the two arcs merge. q Press Layer:Dup to clone the layer.

The result is one layer again. Select the Sphere3D and move the pointer so that it is where the marker was placed. . Otherwise. q q Duplicate the layer again and flip it vertically. q q Merge the layers. q Merge the layers by pressing Layer:Mrg.You can use the Displace H slider to move the layer. or hold down the tilde (~) key and click +drag within the canvas. Always be sure that Zadd and Mrgb are active before merging layers. you can get strange effects. This combines the current layer with the one to its left (the original one). Use Displace V to move the layer down. forming legs.

The sphere will be drawn with the exact scale. . and will enlarge when your pointer is directly on top of it. q q Select the Cylinder3D and click the marker to draw it. Use scale to lengthen it. the yellow intersection is used to lengthen the cylinder without changing its diameter. q Click the marker. For example. orientation and position of the ring. Remember that clicking on the intersections of the gyro makes it possible to constrain your transformations. Use the gyro to rotate and move it into position.The marker will appear when you get close to it. q Use the gyro to scale it smaller.

Note that the right side is left alone. q Merge the layers. The ring was snapshot three times here before moving and rotating it into place for the arm band and ankle. we will use a different technique involving a second .q Add several Ring3D objects. Snapshot was pressed to copy the ring at its current position before moving the ring down the body and scaling/rotating it. flip it horizontally. we will want to paint on ours. Paint the Model q Create a new layer for the background. While the simplest way to color the background is to change the Document:Back color. To make this possible. q Duplicate the layer. and move it into position. The one around the head is added by clicking the marker and then scaling and rotating the ring appropriately.

move it back behind the idol.layer and a 3D object. and so will not receive shadows from it. q Select the Plane3D tool. q Draw the plane on the canvas and use the gyro to scale it to fill the screen. Remember that you can change an object’s depth while Move or Rotate are active by clicking and dragging anywhere on the canvas surrounding the gyro. This material is unaffected by the rendering engine. q Select the Flat Color material. While ZMode shadows with good Rays and Aperture settings will produce an excellent shadow. Also. . q Select alpha 27 and the Simple Brush. we have chosen to paint the shadow manually in order to illustrate other ZBrush features.

q Choose a darker color. turn off Zadd. . and paint a stroke on the canvas so that the gradient fills it completely. q Select the Drag Rectangle stroke type. This stroke will allow us to paint a single instance of the alpha.q Rotate the alpha by pressing the Alpha:Rotate button.

use the Simple Brush and alpha 23. q Using the Drag Rectangle stroke and various shades of color. paint multiple copies of the alpha all over the idol.You can use the gyro after drawing the gradient to move and scale it if necessary. Since the background is on a different . To begin painting the rust. q q Switch back to layer 1 so that we can paint on the idol. You could also use the Spray stroke type for parts of this.

q Continuing to vary the colors. there is no need to “color within the lines. With ZBrush.layer.” q Change the Draw:Width to 50% This changes the width of the alpha. . it is completely unaffected by these strokes. add still more rust to the idol. which in turn will affect the strokes being painted on the canvas.

Lighting and Materials q Adjust the direction and intensity of the primary light. click and drag on the small square located on the thumbnail. q . To adjust the direction.22. You will be able to see the lighting update on the canvas in real time. Set the intensity to 1.

The next step is to adjust the material properties to look more like rusted metal. Diffuse should be 86 The Diffuse Curve should be modified slightly. . Use the settings shown to the right. Also pay attention to Specular to modify the shininess of the metal and Color Bump to make it rougher. and given about 50% noise.

q Paint the new material in scattered places across the idol. Press the PasteMat button. . etc. but also variations in specularity.The material now looks a lot more like rusted metal. but it’s still missing something. Colors and depth will not be changed. q Set the material’s Diffuse to 60. Select another material such as Fast Shader 5. q Activate M on the top shelf. This instructs ZBrush to ONLY paint with material. diffuse. This replaces the Fast Shader 5 material with a duplicate of the Basic material. This will make it possible for us to see where we are painting this new material because it will stand out against the existing one. reflections. Rusted metal doesn’t only contain variations in color. q q q Press the CopyMat button located above the material modifiers.

r Raise the specular setting. r Adjust the Diffuse Curve. it still has the same rust quality that we had built previously.q Because this material is a copy of the original. r Add a little noise to the material itself. It’s simply darker than the first because we adjusted the Diffuse before painting the new material. This is a real time saver. q Adjust the other material modifiers. . etc.

Rendered shadows would give it away immediately. For purposes of this manual. The drawback to that is due to the fact that our background is a vertical plane located just behind the idol. We chose the MRGBZGrabber simply to illustrate the capabilities of this tool. tweak the colors on the idol a bit by switching to Rgb and painting with just color. Aside The Alpha:GrabDoc button could also have been used. As previously mentioned.q At this point. q Select the MRGBZGrabber tool. Since we wish to give the impression that the idol is standing on a vast plane. Create the Idol's Shadow There are several methods by which a drop shadow can be added to the scene. we could simply tell the rendering engine to render shadows. “Tool” always refers to an item found in the Tool palette. . we’ll use a different technique.

q Click and drag on the canvas to capture the entire scene. A capture of the canvas will be placed in the Texture palette.This complicated-sounding tool is used to grab a kind of snapshot of the canvas. We want to capture the entire canvas. It can capture the materials (M). the grabbed area would automatically be cropped to the size of the objects on the layer. At the same time. This alpha is a precise representation of the canvas with the grayscale values representing relative depths. instead. White is the highest depth while black is the lowest. With Auto Crop active. . turn Auto Crop off. q Press Alpha:Make St to convert the alpha into a stencil. colors (RGB). q In the Tool:Modifiers. Two things will happen when you release the mouse. a depth map of the canvas will be placed in the Alpha palette. or depth (Z) hence its name.

Dark areas can be painted through. while light areas will block paint. Press Stencil:Stretch to match the size of the stencil to the size of the canvas. q Activate Stencil:Elv.The stencil will immediately be activated on the canvas. This displays the stencil as an outline. . It does not change the stencil’s effect at all. q The stencil is too small. making it easier to see the rest of the scene.

Select the background layer from the Layer palette. q Use the Simple Brush and a dark color to paint the shadow through the stencil.q Hold down the Spacebar to activate the stencil’s Coin Controller. q Click V on the controller and drag to reduce the height of the stencil. This controller will appear at the pointer location. and has several controls built into it. . q q Release the Spacebar to dismiss the controller.

q Once the shadow has been painted. you can turn off the Stencil:Stencil On switch. . More Materials q q q Return to layer one (the idol layer). With Draw:M active. q Use the Blur brush (found in the Tool palette) to soften the shadow edges. Select the Colorizer1 material. paint this material onto the figure.

.q Modify the material properties.

q Add a few more brush strokes of color. only to complete the scene. You switch between them using the S1 and S2 buttons at the top of the modifiers. . Match the images at the right.This material has two shader channels that must be modified.

info/docs/index. Retrieved from "http://www. This page has been accessed 3.php/Tutorial:_Rusted_Golden_Idol" q q q q q This page was last modified 21:06. Privacy policy About ZBrushInfo Disclaimers .zbrush. found in the ZScript list under the name of Materials: Rusted Golden Idol. 23 January 2007.Aside This tutorial is also available as a ZScript.988 times.

with a few ladybugs thrown in. written in bamboo on a grassy background.Tutorial: Bamboo Scene From ZBrushInfo This tutorial covers creation of a ZBrush-type 'Z'.Adding a 3D Lady Bug and Rendering .5D Grass Bamboo Scene Part 4: Finishing Touches . You'll be exposed to: q q q q q q q Parametric objects Deformations Basic modeling Texturing Alphas Canvas depth Lighting and rendering settings Bamboo Scene Part 1: Creating The Background Bamboo Scene Part 2: Modeling The 3D Z Bamboo Scene Part 3: Creating 2.

Retrieved from "http://www.php/Tutorial:_Bamboo_Scene" q q q q q This page was last modified 20:38.zbrush. This page has been accessed 3.info/docs/index.497 times. 29 June 2007. Privacy policy About ZBrushInfo Disclaimers .

but the more specialized selection functions that we’ll make heavy use of here are only available for primitives.) In this section. we’ll explore a few of . One aspect of ZBrush’s workflow is the ability to create extremely complex scenes by combining a bunch of smaller objects.Not So Primitive: Parametric Models From ZBrushInfo In this section we’ll introduce some basic modeling principles by using masking and deformations to transform primitive objects. Ultimately. yet still render in real time! This is because only one object ever exists as polygons at a time. (Both are available for polymeshes. But where to get those building block objects in the first place? ZBrush provides a very powerful masking and deformation system that is unique to parametric objects. a scene could be composed of millions or even billions of polygons.

1 In Conclusion Plastic Pipe q Select the Cylinder3D tool. Contents q q q q q q q 1 Plastic Pipe 2 Round Plastic Pipe 3 Round Metallic Spring 4 Webbed Pipe 5 Bolt 6 A Tire 7 Creature Tail r 7. set X Size and Y Size to 20.the possibilities inherent in this system by creating several complex objects. Draw it on the canvas and enter Edit mode by pressing T. but it’s much easier to see your results when the model is on the canvas. . It is possible to do the effects in this tutorial while the model is still in the Tool palette. q In the Tool:Initialize menu.

we’ve changed the model’s cross section to be 20% of a ZBrush unit.The Initialize menu has settings that change from one primitive to the next. As a result. the cylinder is not five times longer than it is wide. Any change in this menu causes the model to revert to its primitive state. These are the parameters that you set to control the model on its most basic level. but this is faster for our purposes. In this case. You could also hold down the Ctrl key and paint your mask onto the surface of the model. . It is important to adjust the Initialize settings before you modify the model through sculpting or deformations. q Press Tool:Masking:MaskAll The object becomes completely dark to show that it’s fully masked.

By leaving the Skp value alone. q Press Row.q Set Tool:Masking:Sel to 1. q Apply Tool:Deformation:Inflate at a value of 100. . At this point. we’re actually telling ZBrush to use the same value as for Sel. the model is unmasked in alternating rows of 1 polygon each (the Skp value). This tells ZBrush how to deal with the unmasking process. All masked areas will be left alone when deformations are applied.

Clear the mask by pressing Tool:Masking:Clear. . the deformations affect a model’s points. On the top shelf. q q q Perform the Inflate a second time. while the masking affects its polygons. The effect is that while the model is stationary (not being edited or rotated). it will be displayed with many more polygons than it really has.As you can see. turn off Quick 3D Edit. This is perfectly normal. This activates ZBrush’s smoothing algorithims.

q q Exit Edit mode (T) and clear the canvas (Ctrl+N). then set the Sel value to 1 before pressing Col. Select the Ring3D. q Press Masking:MaskAll. We’ll use the Ring3D primitive instead. . Round Plastic Pipe The next object that we’ll create is very similar to the regular pipe. though. Go ahead and try that now. This turns the ring into a half ring.If we had used a Tool:Initialize:VDivide value of 32 at the outset. the result would have been more tightly-packed ribs. q Set the Initialize:Coverage value to 180. Draw it on the canvas and enter Edit mode.

then clear the mask.<br: <br: For the Ring3D object. And there we have our curved pipe. . But this time. q Perform the Inflate deformation at a value of 100. repeat the steps above for the Ring3D object. use a Masking: Sel value of 2 and a Skp value of 1. rows run along the large circumference while columns ring the small circumference. Round Metallic Spring q For this object.

Set Sel to 1 and leave Skp at 1. Sometimes it’s best to do a series of smaller deformations rather than try to accomplish everything in one. . Unmasking is also cumulative. Press Row. stopping when you have unmasked the rings. Webbed Pipe q q Repeat the steps for the spring. and then clear the mask. Deformations are cumulative. So the unmasking by row now gives us a checkered pattern. use a value of 50 twice. q Do two Inflate routines at 50. q When you get to the Inflate step.This tells ZBrush to unmask 2 columns for every 1 that it leaves masked.

which is why we’re using it for this example. The cube can actually become a cylinder with enough sides! It has slightly different parameters than the Cylinder3D. MaskAll and then set Sel to 32. In the Initialize menu. Press Row. Set Sides Count to 6. by creating more complex masks we are in turn able to create more complex models! And we did all of this with just a few very simple steps. Bolt q q For this one. we’re going to start with the Cube3D primitive. . q In the Masking menu. HDivide to 30 and VDivide to 45.As you can see. though. set X Size and Y Size to 20.

click on the Z in the Size slider to turn it off. Note that the axis is NOT in relation to the canvas (world coordinates). By turning Z off.q In the Deformation menu. open the Tool: Preview menu. q Apply the Size deformation at a value of 50. we’re telling ZBrush not to change the length of the unmasked polygons when we perform this deformation. Deformations use an object’s local coordinates. Each deformation has XYZ settings to control the axis that the deformation will operate on. . If you ever wonder what the local coordinates are. followed by SFlatten at 5. You can also change the local coordinates on the fly by rotating the figure in the preview.

Follow it with Inflate at 30. reverse the mask by pressing Masking:Inverse. and allows subsequent deformations to only affect the bolt’s shank. There’s no need to adjust the XYZ settings for the twist. q Apply Twist 6 times at a value of 100. q Clear the mask.q Now that the head of the bolt is complete. Set Initialize:Z Size to 50. . This protects the head that we just created. since it’s set to Z by default. A Tire q q Select the Sphere3D.

The combined effect creates a rim and rubber. q Set Sel to 3 and Skp to 1. followed by Inflate at 100.q Use the SFlatten deformation at a value of 25. . q MaskAll. then press Row. Set Sel to 32. Press Col. This unmasks everything but what will become the tread. Now there will be just a few masked lines. q Apply Size XY at a value of 10.

Creature Tail q q For this object. . we’ll return to our old friend. and Scale causes it to taper down to almost nothing. Coverage to 220 and Scale to .q q Press MaskAll. set SRadius to 50. Apply Twist at a value of 40. SRadius thickens the torus a bit. followed by Row. then clear the mask.01. the Ring3D. q MaskAll. then set Sel to 2 and press Col. In the Initialize menu.

In fact. q q q MaskAll. These various shapes are then able to be combined with other scene elements to build incredibly detailed scenes. Clear the mask. followed by Rotate Z at -20 and then another Inflate at 50. some ZBrush artists use these techniques almost exclusively in the creation of their artwork. In Conclusion Masking can easily be combined with a variety of deformations to create one complicated-looking shape after another. The remaining masking options are available for both . It should be noted that Row.q Apply Inflate at 100. then Smooth 100. Inflate 25. then press Row. Column and Grid are only available for parametric objects.

php/Not_So_Primitive:_Parametric_Models" q q q q q This page was last modified 18:53. use the online help system.773 times.zbrush. To learn more about them. 1 August 2006.primitives and polymeshes. Privacy policy About ZBrushInfo Disclaimers . Retrieved from "http://www.info/docs/index. This page has been accessed 2.

Ctrl+Shift+Clicking on any group will hide everything except that group. . let’s quickly go over the selection features. All mesh visibility options involve those two keys. The core of these features is the Ctrl+Shift key combination.Hiding and Showing Model Parts From ZBrushInfo Before proceeding. When a mesh is partly visible. When a mesh is completely visible. Ctrl+Shift+Clicking on a group will hide that group.

When a mesh is partly visible. holding Ctrl+Shift while dragging across the model will activate a green selection box. At any time. Ctrl+Shift+Clicking on the blank canvas will restore full visibility. . Any polygons within that box when the mouse button is released will remain visible. All other polygons will be hidden. the box turns red. If the keyboard is released before the mouse button. Any polygons within the box will be hidden while the rest of the mesh remains visible.

.Dragging a small box (of either color) on any empty part of the canvas will invert the visibility.

then the system will select by points instead. Privacy policy About ZBrushInfo Disclaimers . In other words.Image:PM149 289 files image107. This page has been accessed 2. Retrieved from "http://www.php/Hiding_and_Showing_Model_Parts" q q q q q This page was last modified 22:44. You can also force point selection by activating the Pt Sel switch on the right shelf. then the system will select by polygons.143 times. 1 August 2006. only.jpg The drag-rectangle selections use a “smart” system. a polygon must be fully enclosed by the box to be selected.zbrush.info/docs/index. If no polygon is completely enclosed. If the drag rectangle encloses an entire polygon.

3 Add Edge Creasing r 2. Contents q q q 1 Creating the Z r 1.2 Create the Z Shape r 1.Tutorial: Creating a Polymesh Z From ZBrushInfo In this section we’ll use the Create Difference Mesh feature to quickly create a custom 3D shape. then modify the subdivision smoothing via ZBrush 2’s Crease feature.3 Create the Z Polymesh 2 Smooth and Crease the Z r 2.4 Changing Crease Sharpness 3 In Conclusion .1 Create a Polymesh Circle r 1.2 Subdivide the Z r 2.1 Draw the New Mesh on the Canvas r 2.

Enter Edit mode and activate the Polyframe view. Create a Polymesh Circle q q Begin by selecting the Circle3D primitive. hide several polygons. Create the Z Shape q Using a red drag-rectangle.Creating the Z ZBrush 2 has the ability to create a 3D mesh by comparing a model’s current state to its stored morph target. (See Hiding and Showing Model Parts. Along the way. we’ll also make use of ZBrush’s mesh visibility features. we need to convert the primitive into a polymesh. and only polymesh objects can store one. We’ll put that to work here by creating a 3D letter “Z” from a Circle3D primitive. Since the Difference Mesh feature uses a stored morph target.) . We’ll need to be able to see the polygons in order to selectively hide some of them. Press the Tool:Make Polymesh button. q q Select the new polymesh and draw it on the canvas.

q Continue to hide polygons. . creating a simple “Z” shape.

If you want to use points. the fastest approach is generally to just make sure that your selection box doesn’t fully enclose a polygon. set Offset to Z and then enter a value of around -40. Create the Z Polymesh q Press Tool:Morph Target:StoreMT This stores the current geometry so that it can be referenced later. so we’ll delete them.As you work. . you will find that sometimes it’s beneficial to use polygon selection and other times it’s easier to use points. q In the Tool:Deformations menu. q Press Tool:Geometry:Delete Hidden We no longer need the hidden polygons.

ZBrush compares the current mesh to the stored morph target and creates a brand new mesh. At this point. q Back in the Morph Target menu. Smooth and Crease the Z Draw the New Mesh on the Canvas q q Exit Edit mode and clear the canvas. q Draw the new model on the canvas and enter Edit mode. Of course. From the name alone. press CreateDiff. we can tell that it’s a difference mesh generated from a polymesh3D object that was in turn derived from a Circle3D primitive. .This moves all of the visible points toward the camera by 40% of a ZBrush unit. Select the MorphDiff_PM3D_Circle3D tool. or 2/5 the size of the object. you can rename the model to anything you’d like by saving it. Aside ZBrush automatically names models in a way that makes it easy to tell how they were derived.

As you can see. and the polygons filling the difference between the two as a third group. . This behaviour can be overridden by turning off Tool:Geometry:Smt but the result would be that the mesh remains very faceted. the offset position as a second group. q Press Tool:Geometry:Divide three times. the new model is a fully-enclosed 3D figure. For example. form-fitting clothing for a figure could be created very quickly and easily. By default. when the mesh is divided it is also smoothed by averaging the new points with the preexisting points. Add Edge Creasing q Press Ctrl+Z three times to return to the original mesh. What if you want partial smoothing instead? ZBrush 2 provides a way. ZBrush used the stored morph target as one group. Subdivide the Z Now let’s take a look at what happens when the mesh is divided a few times. This technique can be used in a remarkable variety of ways.

The polyframe view will change to show a fine dotted line around the edges of the visible area. and draw a red rectangle to hide all but the front of the model.q Rotate the model to the side. Divide the mesh three times again. q q Restore full visibility by holding Ctrl+Shift and clicking on any blank part of the canvas. activate Pt Sel. q Press Tool:Geometry:Crease. .

This time. rotate to the side view and use red drag-rectangles to hide the front and back surfaces. Now you will see that the edges common to the front and side surfaces have two rows of dotted lines. Press Crease. you will see that the hidden polygons remain uncreased. So the edges where the front and side groups come together are only creased along one side. The crease tags serve as weighting to prevent their adjacent edges being smoothed when the geometry is divided. Restore full visibility. as well. With Pt Sel off. q q q q Press Ctrl+Z to undo the mesh subdivision. When you look closely at the polyframe. the front surface of the mesh remains flat. . Let’s crease the other side.

Restore full visibility. The edge is now sharper than ever. Set Tool:Geometry:CreaseLvl to 1. This is because the non-creased edges are still being smoothed.q Divide the mesh three times again. but the mesh does not have a faceted appearance. Creases are very useful for creating mechanical objects! Changing Crease Sharpness q q q Undo several times until only the front surface is creased. q Divide four times. .

For each subdivision after that. By comparing this modified mesh to the stored morph target. We’ve also used morph targets to store a base level for a mesh that was then modified. In Conclusion In this chapter. the crease is ignored and the mesh is smoothed. the crease is only applied the first time the mesh is divided.The crease level tells ZBrush the maximum level at which to apply the crease tags. Now the crease is used for the first two subdivisions. we’ve examined how creases can be used to modify how ZBrush subdivides a mesh. but still somewhat soft. ZBrush was able to quickly create a shape that would have been very difficult to model by other means. The result is an edge that’s harder than the back surface. The result is a front edge that is slightly harder than the back edge. giving you . and ignored for the second two. we’ve taken a look at how ZBrush 2’s mesh visibility controls operate and can be used to interact with the mesh. Finally. Divide the mesh four times. q q Undo the division and set the CreaseLvl to 2. With a value of 1.

Go to Modeling 3D Objects/Creases to view it. 1 August 2006.php/Tutorial:_Creating_a_Polymesh_Z" q q q q q This page was last modified 22:43.info/docs/index. A tutorial on this subject is also available in ZScript format in the Help system. This page has been accessed 2. Privacy policy About ZBrushInfo Disclaimers .control over the sharpness of your model’s edges.zbrush.442 times. Retrieved from "http://www.

2 Set Up the Model s 3.3 Create A Displacement Map r 3.Tutorial: Modeling a Telephone From ZBrushInfo Contents q q q 1 Edge Loop Modeling r 1.5 In Conclusion Edge Loop Modeling In this section.1 Mesh Visibility Refresher r 1.2. we’ll cover basic Edge Loop functionality.4 Applying a Displacement Map in ZBrush r 3. .3 Making Edges Sharper r 1.2 Adding Polygons r 1.2 Assign UV Coordinate r 3. demonstrating the Crisp function.2.1 Restoring the Shape of the Original Model s 3.1 General Information r 3.4 In Conclusion 2 Adding Details with Projection Master 3 Displacemant and Normal Maps r 3.

When a mesh is completely visible. .ZBrush 2 offers two ways to create sharp edges in a model. we’ll use the Crisp feature. Ctrl+Shift+Clicking on any group will hide everything except that group. Mesh Visibility Refresher Before proceeding. let’s quickly go over the selection features. we’ll work with partial mesh visibility. All mesh visibility options involve those two keys. Along the way. The core of these features is the Ctrl+Shift key combination. which is a part of the Edge Loops command. In this tutorial.

Ctrl+Shift+Clicking on a group will hide that group. All other polygons will be hidden. . Any polygons within that box when the mouse button is released will remain visible. Ctrl+Shift+Clicking on the blank canvas will restore full visibility. holding Ctrl+Shift while dragging across the model will activate a green selection box.When a mesh is partly visible. When a mesh is partly visible. At any time.

. Any polygons within the box will be hidden while the rest of the mesh remains visible. Dragging a small box (of either color) on any empty part of the canvas will invert the visibility. the box turns red.If the keyboard is released before the mouse button.

. a polygon must be fully enclosed by the box to be selected. only. then the system will select by polygons. If no polygon is completely enclosed. You can also force point selection by activating the Pt Sel switch on the right shelf. then the system will select by points instead.The drag-rectangle selections use a “smart” system. Draw the phone on the canvas and press T on your keyboard to enter Edit mode. Adding Polygons q q Begin the tutorial by loading phone. In other words.ztl from the Resources folder. If the drag rectangle encloses an entire polygon.

MRSE would reshape subdivision level 1 to more closely match level 4. such as where the ear and mouthpieces would go.This basic mesh was created using ZSpheres with only 1 resolution level. It’s a little too smooth in places. unmodified mesh. . We’re using undo here instead of Multi-Resolution Subdivision Editing because we want to work with the original. we must be at subdivision level 1. q Press Ctrl+Z three times to return to the original model. though. The skin was then sculpted to block out the shape of the phone. which in this case is an effect that we don’t want. In order to use any of the Edge Loop features. q Press Tool:Geometry:Divide 3 times. The divided and smoothed model now has a fairly sleek appearance. q Hold Ctrl+Shift and drag a green rectangle over the polygon that makes up the earpiece. The Crisp feature will be used to create these edges.

With just one polygon . you’ll be left with just the one polygon. If you accidentally are left with more than one. q Press Tool:Geometry:Edge Loop. This adds a row of polygons around the outer perimeter of the visible area.If you do it right. use any visibility control that you prefer to isolate the single polygon.

q q q Activate Move on the top shelf. the result is an inner extrusion. and another is created for the outer row. With the I-Grp and O-Grp modifiers selected. and set the Draw Size to a low value like 20. (Note: Your colors may be different from what’s shown here. the new polygons are also assigned to new groups.) Making Edges Sharper q Activate the Crisp modifier. One group is created for the center of the loop. it is so narrow that you can’t really see it. but thanks to the Crisp modifier. Press X on the keyboard to activate X symmetry. q Press Edge Loop again. Move the points for the center polygon to enlarge and recess it. Another edge loop has been added.visible. .

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Now Ctrl+Shift+Click on a blank part of the canvas to restore full visibility.

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Press divide four times to subdivide and smooth the mesh. Set PFill on the top shelf to 0 in order to hide the polyframe group coloring.

The row of very thin polygons prevents the mesh from being smoothed in that area. The result is a nice, crisp edge. One advantage to this technique is that the low resolution mesh can be exported from ZBrush and the crisp edge will remain. Crisp edge loops are a truly cross-application edge weighting method!
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Undo to return to the low resolution mesh. Repeat the process for the mouthpiece polygon and what will be the number plate on the

back.

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For the mouthpiece, use a regular Edge Loop followed by a Crisp one.

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For the number plate, use just the Crisp loop. Also perform a Crisp loop on the three polygons making up the base of the mouthpiece area.

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Divide the mesh four times.

The phone is now smoothed overall, but is also still sharp exactly where we want it to be.
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Undo to remove the higher subdivision levels, and save this model as phone2.ztl.

There’s no point in wasting disk space by saving extra polygons when we can quickly add them later. In this state, the model is a mere 64 polygons, and could also be taken into another program for use in an animation.

In Conclusion
This section has given a brief introduction to one of ZBrush 2’s advanced geometry tools the Edge Loop. Combined with the partial mesh visibility controls, edge loops provide a very quick and simple way to modify your mesh on a polygonal level. When the Crisp modifier is activated, the result is an edge weighting system that controls subdivision smoothing in any application. This section will be continued in Telephone Part 2, where we will use Projection Master to “sculpt” high resolution details. We’ll finally conclude with Telephone Part 3, in which we’ll generate displacement and normal maps. This tutorial is also available as the “Displacement Mapping Tutorial” ZScript, found in the Modeling 3D Objects\Displacement Maps chapter of the Help browser. Part 1 of that ZScript shows the original ZSphere modelling of the phone, while part 2 shows the material covered in this section of the manual.

Adding Details with Projection Master
Here we’ll cover the use of Projection Master to paint displacements onto a high resolution mesh.

ZBrush 2’s ability to work with exceptionally dense meshes in real time provides a powerful way to detail your models whether they will be incorporated directly into a ZBrush scene, or ultimately used in an animation package. While the sculpting brushes found in the Transform palette provide a powerful way to freehand-sculpt details, they aren’t sufficient for all purposes. This is where Projection Master comes in. Projection Master provides a way to paint textures directly onto the surface of your models. It can also be used to paint depth-based details that will then be incorporated directly into the mesh via displacements. You can even paint texture and depth at the same time! In this tutorial, we’ll only deal with the displacement side of the equation, illustrating how Projection Master makes it possible to edit your meshes using any or all of ZBrush’s brushes and 3D objects. Along the way, we’ll explore the uses of alphas, various stroke types, and even the ability to transform strokes after they have been painted. Note: This chapter continues whererequires the model that was saved at the end of the previous section. Aside Even as highly optimized as ZBrush is, it is still possible to reach a number of polygons that will make it hard for your computer to keep up. If you find ZBrush acting sluggish while you

rotate the model, press Shift+D a few times to go to a lower subdivision level, then D to return to the higher level once the model has been rotated into its new position. Lower subdivision levels are also an ideal time to hide parts of the mesh.
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Begin by loading the phone2.ztl file that you saved at the end of Part 1. Draw it on the canvas and enter Edit mode. Divide the mesh several times until you have 7 subdivision levels.

The model will now be comprised of 262,144 polygons, which is sufficient for our demonstration. When using Projection Master to paint mesh displacements, the quality of your work will be directly influenced by the size/number of polygons.
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Turn off the Polyframe view by pressing Shift+F. Rotate the model so that it is squarely facing the camera and scale it to fit the screen.

Remember that when the phone is close to the desired orientation, you can press Shift to snap it into position.
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On the top shelf, press the Projection Master button.

The Projection Master (PM) control panel will pop up. You can use this panel to tell ZBrush what you want to do.

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Turn off Colors and Fade. Turn on Deformation.

When settings are changed, the thumbnails next to the buttons update to show the effects of your changes.
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Press the Drop Now button to drop the mesh onto the canvas, ready for projection painting. PM will display a note asking if you’d like to create a texture. Say yes.

By default, when PM is first used in a session it selects the SingleLayer brush. That’s perfect for our needs.
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Select the Radial stroke type. Select Alpha 06 (a hard-edged circle). With a Draw Size of 32, draw a ring of dots on the earpiece. Use Scale and Move to position the ring as shown.

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Switch to Zsub and set Z Intensity to 50. Press Shift+S or use the Snapshot button on the right shelf to make an instance of the holes. Use Scale and Snapshot to add two more concentric rings.

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Activate Projection Master and press the Pick Up button.

While the PM panel is showing, you have a final chance to change your settings. This is useful if you were planning to do one thing before dropping the model, but changed your mind and did something different while working with the dropped model. If you wish to skip the PM panel, simply press G to pick up the model. (This keyboard shortcut can also be used to drop the model.)

After pressing Pickup, the model will become editable again. At the same time, the depth that was just painted onto the dropped model is now incorporated into the actual geometry of the phone. You can clearly see this when you rotate the mesh.
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Hide all but the lower of the model, and then rotate it so that the mouthpiece area is squarely facing the camera.

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Repeat the Drop/paint/Pick Up steps to add another group of holes for the mouthpiece. Restore full visibility to the mesh.

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Rotate the model so that the number panel is squarely facing the camera. Drop the mesh again.

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This time using the Grid stroke with repeat settings of 3 x 4, add 12 indentations to the number pad.

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Snapshot them in place, then change to Zadd and a Z Intensity of 90. Modify the Draw Size to place buttons within the indentations.

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Use PM to pick the mesh up again, then rotate to a side view.

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Drop the mesh. Use the Line II stroke and Zsub to paint four lines onto the side two for the base, and two for the ear/number pad area.

Choose the Z Intensity that you like best as you go. Remember that you can transform your strokes after the fact to modify the Draw Size. Any place that the line touches the side of the mesh, be sure to extend it past the sides. This even applies later when using Zadd. Projection Master will ignore anything that it doesn’t need when the displacements are calculated, and going off the edges ensures a nice, uniform projection that wraps all the way around to the other side.
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Using the DragRectangle stroke and Zadd with a Z Intensity of 27, paint a dot on the base.

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Snapshot the dot, then use the Move gyro to place more along the side of the handle.

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Switching between stroke types and Zadd/Zsub, add a few more details, as well (as shown

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above). Before picking the mesh up again, activate the Double Sided option in Projection Master.

This tells ZBrush to apply the displacements to the back of the mesh (the side facing away from the camera), as well as the front. When a symmetrical model is positioned squarely along the axis of symmetry, Double Sided provides a quick and easy way to maintain the symmetry while using Projection Master. At this point we can also easily see the effects of the Normalized option. Any place that our painting went off the edges of the mesh, the displacements wrapped nicely around to the opposite side.
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Rotate the model so that it faces front again and move it off to one side of the canvas.

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Drop the model, and then draw a Plane3D to the left as shown.

For the next step, we need a surface to paint on. The plane will provide that surface, and will be ignored by Projection Master when the phone is picked up again.
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Using the PaintBrush tool and Zadd with a Draw Size of 14 and alpha 01, paint a Z on the plane.

You can use Stroke:Mouse Avg to steady your hand and ensure that the letter turns out nice.
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While holding down the Ctrl key, add “Brush”.

Ordinarily, only the last stroke drawn can be transformed. Holding the Ctrl key allows us to chain several strokes together so that they can be transformed as a unit.
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Activate the Move gyro and move the word over onto the phone.

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Rotate and scale the word into position, then switch to Zsub. If you’re happy with the result, press Q to return to regular draw mode, which makes a snapshot of the word.

q Rotate the model so that the back is facing the camera.q Pick the mesh up again. Incidentally. . Only the portion that you wish to work on needs to be visible. q Use the Grid stroke and SingleLayer brush to add several rows of bumps on the back. The plane will disappear from the canvas while the word is projected onto the phone. and drop it. it is not necessary to keep the entire model within the canvas when using Projection Master.

as well as the Draw Size and Z Intensity. add a row of dots. we used an array of 3 x 15. q Pick up the model. Using the Line II stroke. q q Pick up the model and rotate it to the side. General Information .In our example. q Displacemant and Normal Maps This section concludes the telephone project by showing how to use ZBrush to process Displacement and Normal maps. you can also change the alpha that is being used. You’re done! Save the completed model as phone3. Drop it again. Remember that while the gyro is active for transforming the stroke.ztl so that you can use it for the final part of this tutorial.

Also. and generate a difference map. ZBrush 2 provides the tools to compare your high resolution and low resolution models. Set Up the Model q Begin by loading the phone3. Some animation packages can also combine displacement and normal maps. This tutorial will not explain how to use these maps in your other software.Note: A new plugin called ZMapper provides normal mapping and other features than can handle much more complex tasks than the process given here. It should be noted that there is no need to create difference maps if you’ll be using the model in a ZBrush scene. we’ll show you how to generate the maps. animation packages can’t handle nearly that many.ztl from the previous part of this tutorial. . while normal maps are useful in the game industry. While ZBrush 2 is highly optimized to work with figures of up to ten million polygons. real time game engines require extremely low numbers of polygons. Displacement maps can be used with many animation programs. Instead. But this is still a simple way to do simple tasks. We’ll also show you how the maps can be used in ZBrush. You should consult your software’s documentation for that information. ZBrush will incorporate the high resolution version as-is.

however. you will absolutely need to use level 1. and then move another copy over to the right. q q Press “T” to enter Edit mode. so that is what we’re going to show in this tutorial. Lower the Sudivision level to 1. We’re simply doing that here for demonstration purposes. snapshot it. though.q Draw it on the left side of the canvas. Sometimes you might want to use a different subdivision level. If you’re using a model that is already being animated in another program. . so that you can clearly see how similar the high resolution version is to the displaced low resolution version that we’ll end with. It is not necessary to have two copies on the canvas.

and should only be used if neither of the next two is available to you. Under normal circumstances. that would be exactly what we want. This calculates a cage object that you could export to another program. but for making a difference map we need the original. If you remember what our original model looked like. This option is normally the least desirable of the three. unmodified mesh. Let’s look at each of them in turn. We have three options available. . This is because ZBrush interpolates changes made at one subdivision level across the other levels.Restoring the Shape of the Original Model Here we see the model at level 1. q Press Tool:Geometry:Cage. it was quite a bit different. q q Turn off Cage.ztl model. Press Load Tool and load the phone2. however.

While at subdivision level 1. the level is replaced by the original geometry. The third option requires some pre-planning. you would press Tool:Morph Target:StoreMT. before beginning the high resolution modelling. Now when you wish to reuse that geometry.By loading the original model back into subdivision level 1. you would simply press the Switch button to return to . This is particularly useful in a production environment where your animation team has already begun working with a model and it cannot be changed. This stores the unmodified low resolution geometry so that it can be retrieved later.

Like AUVTiles. In fact. GUVTiles is new to Z2. the mapping will be retained. we’ll do that now. 512x512. Assign UV Coordinate q Set Texture:Width and Height to 1024. Press the New button. 1024x1024. Displacement mapping requires that the mesh has properly-assigned UV coordinates.it. When the mesh is imported back into subdivision level 1. you can apply any of ZBrush’s mapping methods or export the base mesh to another application for mapping. it is a virtually distortion-free mapping method. and is an automated mapping system designed to let you see details on the unwrapped map. this mapping method has the advantage that you can often do some painting on the unwrapped texture should you need to. this technique is what you will see illustrated if you run the ZScript companion to this tutorial. Since it unwraps the model in the largest polygon groups possible without introducing distortion. To give the best quality mapping. Since that is the size of our texture. you should first assign a texture to the mesh. The best sizes to use are powers of 2 such as 256x256. Since this model does not already have mapping assigned. If a texture is not already applied to the model when AUVTiles or GUVTiles is pressed. ZBrush assumes a size of 1024x1024. 2048x2048 or 4096x4096. it wasn’t really necessary for us . If it doesn’t. q Press Texture:GUVTiles.

. These are not necessary in our example. q Press Texture:Export to export the normal map if you need it. It takes slightly longer to calculate than a map created without it. Activate Adaptive and SmoothUV. Create A Displacement Map We’re now ready to create our maps.to assign a texture to this model. including BMP. q Click the Create DispMap button. You have a choice of formats. q Select the displacement map from the alpha popup menu. but it’s good to get in the habit. The new map will be added to the Alpha palette. q q Set Tool:Displacement:DPRes to 2048. if you wish. The popup is structured so that your custom content appears in a separate section beneath the other thumbnails. and (for Mac users) PICT. PSD. TIFF. but are important to use if any of your sculpting has used the Nudge or Pinch editing brushes from the Transform palette.

If ZBrush 2 can work with extremely dense models. There’s not really a need to do this. why would you wish to use displacement maps? Well. The new texture will automatically be applied to the model. with their displacement maps. ZBrush provides an easy way to use displacement maps.” . Along the same lines. there are a few reasons. In order for a displacement map to be viewed in ZBrush. Or maybe you simply wish to conserve disk space. and so prefer to only keep the low resolution versions of your models. q Press Texture:Clear. the model must have a texture assigned to it. Maybe you wish to refine a map that you’ve already created. it’s easier to send a level 1 model with a displacement map than a level 7 model. which we’ll cover here: q If you would like to see what the alpha looks like on the model. but sometimes it’s nice to see. Whatever your reasons. Maybe you are importing a displacement-mapped model from another program for use in a ZBrush scene.q Export the alpha. you might have a friend who wishes to share his model with you. We’ve cleared the texture because we wish to demonstrate how displacements alone can allow a low resolution model to match its high resolution “brother. press Alpha:Make Tx. Applying a Displacement Map in ZBrush That’s all there is to creating difference maps for use in other programs! The rest of this section will show how to use a displacement map in ZBrush.

We now have the exact model that you would be working with if you’d imported it from another program or were starting fresh without having saved the high resolution version. q Press Tool:Geometry:Divide three times. In other programs. The cage object would then appear to have more polygons than it really does. q Turn off Quick 3D Edit. The model is now comprised of 4096 polygons. We need to simulate that effect.q Press Tool:Geometry:Del Higher. . you’d use this model as a subdivision surface. which is probably equal to what an animation package would use. q Make sure that the displacement map is the current alpha.

. q Note the value of the Alpha Depth Factor slider. How many times is determined by the Dres setting.0562. For maps imported from other applications. Each of the polygons is divided a few times when the model is rendered. you’d have to experiment to find the correct value to use in our next step: q Back in the Tool:Displacement menu.ZBrush’s displacement rendering requires render-time mesh smoothing. which is disabled by Quick mode. q Set Tool:Display Properties:DSmooth to 1. the value is . found at the bottom of the Alpha palette. set Intensity to the Alpha Depth Factor value. This activates render smoothing. In this case. This number will only have relevance if the displacement map was created by ZBrush.

This changes the appearance of the model.This slider tells ZBrush how strongly to apply the map. In short. ZBrush 2 offers two ways to add bump to your models. The first is the Color Bump material modifier. This lends even greater realism to your work. it’s only being applied as a bump map. already familiar to experienced ZBrush users. but does not change its profile. q Also in the Displacement menu. a bump map can be used that will operate independently from the model’s colors or texture. Alternatively. activate the Mode switch. however. At the moment. . This means that pixols are only being displaced along the world Z axis.

the smoothing is deactivated and the displacement effect along with it. This subdivides the mesh a few more times at render time. you will see that the quality of the displacements is good. resulting in a finished render that is almost indistinguishable from the high resolution model. q Click Tool:Displacement:Apply DispMap. This button converts the details created by the displacement effect back into being a part of the . q Set Tool:Display Properties:DRes to 6. every time you click on the model. If you look closely at the model. q Divide the mesh three more times to reach subdivision level 7. What if you wanted to continue to sculpt this model as a high resolution figure? After all. but not perfect.This switches ZBrush from rendering the displacement map as bump to full displacement. Obviously. The model is now comprised of as many polygons as the original high resolution version. what you’re seeing here is a render-time effect applied to a low resolution model. It’s also easy to compensate for. This is because the number of rendered polygons is still lower than the high resolution model that was used to create the map.

Privacy policy . q Activate Quick 3D Edit again. ZBrush 2 can not only render displacement maps. This makes it possible to edit the high resolution model further. The displacement map has been applied as actual geometry. In addition. Retrieved from "http://www. just as if you’d never gone through the displacement process to begin with. and provides an alternative to having to fill up hard drive space by always saving the high resolution version of your models. It’s sort of like applying Projection Master to your entire model. This turns off all smoothing. Your mesh still looks exactly like the high resolution version still on the left side of the canvas. found in the Modeling 3D Objects\Displacement Maps chapter of the Help browser. all at once. 26 September 2006. This technique eliminates the need to create and scan clay sculptures in order to create high quality maps. This page has been accessed 2. In Conclusion ZBrush 2 provides an incredibly fast and efficient method to create high resolution versions of your models and generate difference maps from them.544 times. This tutorial is also available as the “Displacement Mapping Tutorial” ZScript. Part 4 of that tutorial shows the material covered in this section of the manual. It also sets the displacement intensity back to 0. Modifiers are available to fit the needs of your rendering software. but can actually transform their detail back into being a part of the high resolution mesh. but your mesh will not appear to change. and you can now continue to sculpt on the mesh or use Projection Master.zbrush.info/docs/index.php/Tutorial:_Modeling_a_Telephone" q q q This page was last modified 17:19. thus saving tremendous time and money.actual mesh.

q q About ZBrushInfo Disclaimers .

we’ll use ZSpheres to create a base mesh that will be refined in the following sections.S.Tutorial: Warrior Image From ZBrushInfo by By J. Rolhion Contents q q q q q q 1 Creating Armor with ZSpheres r 1.1 In Conclusion 3 Fine Details with Projection Master r 3.1 In Conclusion 5 The Warrior's Head r 5.1 In Conclusion 2 Sculpting the Armor r 2. .1 In Conclusion Creating Armor with ZSpheres In this section.1 In Conclusion 4 More Armor: Upper Arm r 4.1 In Conclusion 6 Combining Everything Into a Scene r 6.

draw the ZSphere on the canvas. you constrain ZBrush to draw the object “squarely” on the canvas. It will be oriented so that X is perfectly horizontal. Y is vertical. By holding down the Shift key. Select the ZSphere tool. Holding down the Shift key. initialize ZBrush (Preferences:Init ZBrush). . and Z is directly facing the camera.q q q If this is not a fresh ZBrush session.

q Press S and change the Draw Size to 1. q Also in the Transform palette. . Larger draw sizes can cause you to affect more than one ZSphere at a time. Now all edits made to one side of the model will be duplicated on the other side. the ZSphere. This step is very important when working with ZSpheres.q Press Transform:Edit Object. which is usually undesirable. click on X Symmetry. This allows you to sculpt the most recently drawn object in this case.

The small circles indicate the future positions of ZSpheres. They turn green when the positioning is ideal, but that is not always important. Don’t worry about it for the purposes of this tutorial. Also, the red line is drawn from your pointer’s position to the center of the ZSphere that would be affected by clicking at the pointer’s current location.
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Click and drag to add two new ZSpheres as shown:

The red ZSphere is the one that you actually draw, while symmetry also draws an identical ZSphere on the other side. White lines show the parent/child relationships for the currentlyselected (red) ZSphere.
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Rotate the object by clicking and dragging on a blank part of the canvas.

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Switch to Edit:Move mode.

The keyboard shortcut for this is W.
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Click and drag on the new ZSphere to move it slightly away from its parent.

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Activate the mesh preview by pressing A.

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Change Tool:Adaptive Skin:Density to 4.

This greatly increases the number of polygons in the preview mesh. It also increases the number of subdivision levels that a skin created from this model would have. Density of 4 means that the skin would have 4 subdivision levels.
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If the preview looks like the image above, your ZSpheres are positioned correctly. If not, adjust them as needed by pressing A, moving ZSpheres, and then reactivating the preview until the mesh looks correct.

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Press A to return to the ZSphere view. Activate Edit:Draw mode by clicking on the Draw Pointer button or pressing Q.

You must be in Draw mode to add ZSpheres to the model.
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Create a new ZSphere for the armor’s torso.

To draw a single ZSphere, move your pointer so that the two red circles overlap. When they become one circle, this indicates that a single ZSphere will be created, exactly centered along the model’s axis. For this ZSphere, try to get the circle to turn green before you click and drag.
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Create another small ZSphere for the neck.

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Move the ZSphere slightly forward of center.

You can try different moves and then see the result by pressing A to activate the preview. To help get the proper positioning, don’t hesitate to rotate your model. You will often find that it is beneficial to work from one of the “planar” views. Rotate the object so that it is close to the planar orientation, then hold down the Shift key to snap it into position.
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Move the neck ZSphere into the main structure. You’ll know that its position is correct when it becomes semi-transparent.

When a ZSphere is inset into its parent, its effect on the mesh changes. Instead of adding to the mesh’s mass, it creates an indentation.

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Activate the preview, then set the density to 3.

While ZSphere meshes can be created with any density up to 8, lower numbers of polygons are usually better, as they allow broader-scale control over your mesh. Your preview should be close to this:

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When satisfied, deactivate the preview and then return to Edit:Draw mode so that more ZSpheres can be added.

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Draw arm ZSpheres from the base of the shoulders.

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Like with the neck, press W to switch to Move mode and then inset these new ZSpheres into their parents.

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Return to Draw mode. Click on the first linking sphere connecting the chest ZSphere to the shoulder.

Clicking on a linking sphere while in Edit:Draw mode converts it into a ZSphere. By adding a new ZSphere so close to its parent and child, we force a crease to appear in the mesh as shown:

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With the preview active, change to Move mode. Increase your Draw Size to about 100. The cursor should be slightly larger than the waist ZSphere.

While the preview mesh can be sculpted, it is important not to do so until you are sure that you will not be adding additional ZSpheres or otherwise changing the structure of the ZSphere figure. If you were to make a change to the ZSphere structure that caused the number of vertices in the preview to change, your sculpting would be lost.
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Click on the bottom of the mesh and drag to move the center polygons up inside of the figure.

There are other ways that you could achieve this same result, such as by adding another inset ZSphere. We’re using this technique instead to show that you can sculpt the preview mesh, even

without skinning the model.
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Rotate to a side view and refine the shape further.

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Now increase the mesh density to a value of 5.

Now that the basic shape of the mesh is finished, it’s ok to add more polygons to it. This will allow finer detail to be created in the next section.
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Press Tool:Save As and save your model as ArmorPart1.ztl

In Conclusion
ZSpheres provide a very fast and easy way to create a wide variety of shapes. All you need to do

is block out the shape that you want by creating a skeleton of linked ZSpheres, and ZBrush will then create a nicely-organized mesh around the structure. You can preview this mesh at any time, and even sculpt the preview on a polygonal level. For more information on ZSphere modeling, including the use of Attractors (magnet ZSpheres), be sure to review the ZScript documentation and tutorials included with ZBrush. In the next section, we will add details to the armor using the mesh-level editing tools that are at our disposal.

Sculpting the Armor
In this section, we will explore ZBrush 2’s new editing tools to further refine the shape of our mesh.

The Transform Brushes provide a really powerful way to obtain precise results when adding details to a mesh figure. You’ll find them in the Transform palette.

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Std is the Standard brush. It moves points away from the surface along a single direction. This direction is determined by the surface normal at the center of the brush’s area of influence. StdDot is similar to the Std brush, except that it only draws a single “bump.” This bump can be dragged across the surface until you are satisfied with its position. Inflat has an effect that can be very similar to Std, or very different depending on where you use it. Every point within the brush’s area of effect is moved according to its own normal. On mostly flat areas, this effect is indistinguishable from Std, but in places where the polygons have very different orientations this brush has the effect of infating the edited area. InflatDot allows precise placement of an inflated bulge by allowing you to drag the inflated area around before releasing the mouse. Layer raises the polygons in a single hard-edged layer. The effect is similar to the Single Layer tool when painting in 2.5D, but works on a fully 3D polygonal level. Pinch pulls nearby polygons toward the center of the edited area. This is very useful for creating creases or sharpening edges. Nudge pushes vertices along the object’s surface. This is useful for refining edge loops and the overall “flow” of polygons. Smooth is used to soften edits that have been made to the surface of a model by averaging the points within its area of influence. Taken to an extreme, it can erase edits that have been made to portions of a mesh.

Many brushes can also be reversed by holding down the Alt key. For example, Std normally adds depth to a surface but by holding down Alt it can cut into the surface instead. Each brush has its own Z Intensity settings. Last of all, the Shift key by default activates the Smooth brush. You can change this by holding Shift while activating any of the other editing brushes. Shift will then activate that brush instead.

Let’s start putting this into practice.
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If you are starting a new session, press Tool:Load Tool and select ArmorPart1.ztl. Draw it on the canvas and press T to enter Edit Mode.

Make sure that Edit:Draw is active, like in the illustration above. Also make sure that X Symmetry is still active.
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Set your Draw Size to 39, and Z Intensity to 25. Paint additional detail onto the model to build up the neck and chest.

While working, you can change your Draw Size and Z Intensity. Be sure to add details to every side of the mesh. You may also at times want to hold down the Alt key to chisel into the mesh rather than building up detail.

since they are much like traditional sculpture. . Of course. q Activate the Pinch brush. q q Choose a Z Intensity of 40 and a Draw Size of 25. armor is usually very sharp along edges and intersections. as well. ZBrush can accommodate this need. They are extremely useful for organic shapes.These tools are very intuitive. Draw on the areas where you wish to make harder edges.

q Press Tool:Adaptive Skin:Make Adaptive Skin. Feel free as you work to alternate between Std and Pinch. You should experiment with different Z Intensity and Draw Size settings to really get a feel for this brush. this brush directly sharpens area where we originally had an organic look that was not realistic enough for this armor. or to achieve different results. .As you can see.

This creates a new object in the Tool palette. This new mesh is no longer tied to the ZSpheres that were used to generate it. and is a discreet polymesh object. which starts with “Skin” for the object name. .

We do this because the ZSphere version of the model is still on the canvas. q q Select the skin object and draw it on the canvas. Place your pointer over the thumbnail for the skin object. While this is useful if you plan to animate the finished figure in ZBrush. It’s always wise to save your work in case you wish to return to the ZSphere model later for some reason.ztl. so we need to remove the ZSphere figure from the canvas. then Ctrl+N to clear the canvas. Press T to enter Edit Mode. ZBrush is programmed to work this way. q Save the model as ArmorPart2a. . When creating a skin using the Make Adaptive Skin button. points. though. q Press T to exit Edit Mode. it’s not necessary for a project such as this still scene. since it allows you to change the model and create additional skins if you wish. groups. This means that you could actually make broad-scale changes to your mesh by going to a lower subdivision level and moving a few points. ZBrush also keeps the mesh’s subdivision levels. This information can be very useful. we want to switch to the skin object instead of the ZSphere model. including the number of polygons. We’ll make use of this feature later. A popup will appear with information about the mesh. then return to the higher level without losing the detail that has been sculpted so far. For our purposes. etc.You could actually continue to work with the model while it’s connected to the ZSpheres.

You can then use the Lower Res button to temporarily decrease the number of polygons and Higher Res to increase it again.q q In Tool palette. click on Geometry to open the Geometry menu. Dividing also adds a new subdivision level in the top section of the Geometry menu. Press Divide. q Select the Intensity Metal material. . Dividing the mesh quadruples the number of polygons. The number of times that you can divide the mesh is ultimately dependent on the amount of RAM that your system has and the processor speed. More polygons make it possible for finer details to be added to the mesh.

You can create your own material by changing the modifiers. q q q Select Transform:InflatDot Set the Draw Size to 10. but for this tutorial the standard Intensity Metal is perfect. then release the mouse. Click on the surface of your model. it is also beneficial to be able to see what the figure will look like with a metallic material. .While the Fast Shader material allows slightly faster mesh interaction (especially at really high polygon counts). Drag the raised dot to where you want it.

. this is a very fast and easy way to create detail! q Use varying Z Intensity settings to modify achieve different effects.Feel free to put these dots anywhere you like to add visual interest to the armor. As you can see.

q Save the tool as ArmorPart2b.When you’re done. the armor should look something like the image below (depending on how much detail you’ve chosen to add).ztl In Conclusion .

Fine Details with Projection Master In this section we’ll finish the armor chest plate by using Projection Master to paint detail onto the model. which can be used for texturing or for export to other applications.In this section we’ve created a skin from our ZSphere model and experimented with several of the sculpting brushes to refine the look of our armor. lighting and rendering. We’ll also cover the subjects of texturing. In the next section. UV mapping will also be assigned to the model. load ArmorPart2b. we’ll add more details in a different way: using Projection Master. using any or all of ZBrush’s 2. working with the model as if it’s made of clay. . These techniques allow us to sculpt the figure in a very intuitive way.ztl and draw it on the screen. q If it is not already active on the screen. In part 2 we saw how to create the base mesh for the armor through modelling. you can literally paint details onto the model.5D painting tools. Using this utility. But what about when you wish to add detail that cannot be achieved through the editing brushes? ZBrush offers an innovative solution called Projection Master.

Ensure that the model is at least subdivision level 7. q Click the Projection Master icon on the top shelf. add another by Dividing the mesh.q q Enter Edit Mode by pressing the T key. If you don’t have enough subdivision levels. Hold down the Shift key and rotate the model so that it is exactly facing you. Projection Master will project anything you paint directly onto the mesh below. The following popup menu will open: . it is important to position your model so that the area that you will be working on is facing the camera as directly as possible. Because of this.

1024x1024 (the default). This instructs ZBrush to create a texture at the default size of 1024x1024. Click Drop Now. the preview to the right will update to show the effect that your selection will have. 2048x2048. . These include: 256x256. open Tool:Texture and select the UV mapping that you would like to use (unless you’re working with an imported model that already has mapping applied). but it also enables all of ZBrush’s other tools. First. Deformation and Normalized). Aside Projection Master functions best when the texture dimensions are a power of 2. you would need to set the desired width and height in the Texture palette. Projection Master will prompt you with a warning window. Finally. Fade. 512x512. Next. This prevents the model from being rotated until you use Projection Master to pick it up again. Material. This opens up possibilities beyond what can be achieved with the Transform palette alone. The top section is for painting textures while the bottom section is for projecting displacements.You are presented with a panel showing the various Projection Master options. click New. q Click the “Create a texture and continue” option. ZBrush will snapshot the model to the canvas. Since a texture has not yet been created for this model. As you click on the check boxes. q q Activate the options shown above (Colors. If you wanted to work with a different size. or 4096x4096. you would cancel projection instead and create a texture.

a full mesh texturing needs to be done in parts. Choose the Spray stroke. . You will usually find that it works best to paint the entire model with one step before moving on to the next. and a Draw Size between 10 and 15. q Begin texturing by painting details like you see on the example below. Then proceed to the next level of detail. paint a base texture across the entire model (using several drops and picks).Since the model cannot be rotated while you are working on it. For example. q Set Zsub with a Z Intensity between 5 and 10. Choose alpha 08. Next paint the next level of detail onto the entire model. q q q Choose the Single Layer brush. over the course of several drop and pick cycles. etc. This makes it easy to keep your work consistent across the entire model.

Z Intensity settings.Feel free to experiment with different alphas. q q q Choose the Simple Brush Select alpha 52 Choose the DragRect stroke. and Draw Sizes to create naturalistic results. .

you can obtain a very high level of detail using the various brushes. . and stroke types. alphas. q Click the Projection Master button again. If you wish. Feel free to add as many details as you wish. Note that for this tutorial. As you can see. we are using the alphas that have been included with ZBrush. you can modify them using the Focal Shift slider and Alpha Adjust curve. Remember that after drawing the stroke. you can use the gyro to move and scale it for the best positioning. You can also create or import your own to create custom brushes and personalize the armor.q Activate Zadd and set the Z Intensity to 25 q Click and drag on the mesh to create a large sunburst.

At this point. In our example.The Projection Master panel will open once more. ready for you to rotate it to a new position or do anything else that you like. It will be exactly like you last saw it. Of course. ZBrush will return the model to Edit Mode. q Deselect Colors and Material. More polygons mean the ability to paint finer levels of detail. you can change your settings if you find that your creativity took you in a direction that you hadn’t anticipated. In the case of depth details. your own experimenting might have led you to use color and/or material. they will be incorporated directly into the mesh geometry. then you should modify the settings appropriately. . q Rotate the model to take a look at your work. q Press Pickup Now. At this point. we did not paint any colors or materials onto the model. The quality of this projection displacement will depend upon the number of polygons that your model has. all of the details that you have painted while it was dropped will be transferred onto the model. In the process. except that Drop Now has changed to Pickup Now. If that’s the case.

light type (Sun. and raytraced shadow options. such as colored lights. beaten look. very precise placement. Aside . Various Z Intensity and Rgb Intensity settings will also lend realistic randomness to your work.As you can see. all painted depth has literally become a part of the mesh. we are ready to take a look at some of ZBrush’s lighting and rendering options. Radial). light intensity. Glow. Point. q Repeat the Projection Master steps from several different angles to add details to the entire mesh. Spot. the more compelling your finished scene will be! Now that texturing and painted displacements are complete. Feel free to use different colors and alphas to get a variety of rust effects and produce a truly aged. Different options are available. The more time you put into this step. Lighting in ZBrush is very powerful.

or feel free to modify them.Regarding Rays and Aperture: The more rays you use. and you should lower generally lower the Aperture setting to compensate. q Duplicate the settings below. the more realistic your shadows will be (at the price of longer render times). More rays also makes the shadows softer. .

q Turn Render:Shadows on. To render the entire scene. q Rotate the model into a position that you like.If you wish to learn more about any setting. ZBrush will only render the model and a bounding box surrounding it. . While ZBrush can do a Best render while a model is in Edit Mode. This tells ZBrush to render shadows when a Best render is performed. hold down the Ctrl key and place the pointer over it. then exit Edit Mode (press T). Edit Mode must be off. q Turn SoftZ and SoftRGB on. Set the Antialiasing adjustments as shown.

This will give a higher quality to the Best render. q Press the Best button to render the scene. .

While it certainly took you longer to work through this tutorial because you are still learning ZBrush and also had to read and follow the steps. including rendering. :-) If you are using the model within a ZBrush scene (like we will do later in this tutorial).ztl. . I’d like to say that I created this whole breastplate in 30 minutes. it would be a simple matter to create a displacement and/or normal map. and then export a cage object from ZBrush as an OBJ. However. A “classic” workflow (using the other modeling packages on the market) would have taken a little bit longer. q Save your model as ArmorPart3. there is nothing more that you need to do. Displacement and normal maps are really powerful when exported to other applications. if you are planning to use the model in an animation package.

In this section. Bear in mind that the quality of the finished work will depend on how your rendering engine implements such features. see ZMapper. ALL of ZBrush’s tools become available for use. and then go all the way through mesh sculpting and . Once a model has been dropped to the canvas. we learned how to use ZSpheres to create a simple mesh and then detail that model through the combined use of ZBrush’s editing brushes and Projection Master.and enable you to keep all these wonderful details while working with a much lower resolution mesh. More Armor: Upper Arm In the last three sections. This provides an extremely fast and powerful approach for adding high resolution detail to your meshes. we’ll begin with ZSpheres. which in turn results in far more compelling renders. For further details. In this section. In Conclusion This section of the armor tutorial has given us hands-on experience with texturing and painting displacements onto a mesh. we will practice those techniques by creating another piece of armor to be used in the finished scene. including meshes that have been imported from other sessions or programs.

Click to add a new ZSphere. we tell ZBrush to make the new ZSphere identical in size to the first one. q q q Enter Edit Mode and set the Draw Size to 1. Activate X symmetry. Select the ZSphere tool and draw it on the canvas. Let’s dive right in! q q Initialize ZBrush or clear the canvas. q Press W to switch to Move mode. Hold down the Shift key and move the pointer over the ZSphere until the two red circles become one and turn green.projection painting. then rotate the model and move the new ZSphere down a little as shown. . By holding down the Shift key when adding a new ZSphere. Making the ZSphere when the cursor is green means that the ZSphere will have the optimal placement for a clean mesh.

q Press Q to return to Draw mode. . q Move the new ZSphere back into the first one until it changes to show that it will create an indentation in the mesh. and add another ZSphere.

move it down so that it is connected to its parent by three linking spheres. q q Preview the mesh by pressing Tool:Adaptive Skin:Preview (or A on your keyboard). Set Tool:Adaptive Skin:Ires to 7. then convert the first linking sphere to a ZSphere by clicking on it while in Edit Draw mode. create two more ZSpheres. Ires is an advanced feature covered in the online users guide and by holding the Ctrl key while moving your pointer over the slider. . The easiest way is to create one.q On the opposite side of the root (first) ZSphere from the ones that you have added thus far. It affects the way that skins are created.

With the preview active. Using a Draw Size of between 50 and 70. you can adjust the ZSpheres by pressing A and then moving or scaling them as appropriate.The mesh should look similar to what you see above. If necessary. move polygons around to refine the shape as shown. . q q Make sure that Density is set to 2. press W to switch to Edit Move mode.

q Once you are satisfied with the base mesh.Feel free to change the Draw Size as necessary while you work. increase the Density to 3. . This operation creates a new polygon mesh in the Tool palette. so you can return to the lower resolution later if you wish to make large-scale adjustments to the mesh. and click the Make Adaptive Skin button. then Layer:Clear (Ctrl+N) to clear the canvas. q Press T to leave Edit Mode. This new mesh has three subdivision levels.

Press Tool:Geometry:Divide a few times until you have 7 subdivision levels. This step can also be avoided by setting Tool:Adaptive Skin:Density to 7 before skinning the ZSphere model. the mesh will be edited at an extremely high resolution using the various Transform brushes.q q q Select the new mesh in the Tool palette. A Draw Size of 7 and Z Intensity of 25 are appropriate to begin with. you can use the Lower Res button to temporarily reduce the number of polygons. However. When you return to subdivision level 7. From here forward. . Draw the new mesh on the canvas and press Transform:Edit Object to return to Edit Mode. if you would like to make large-scale changes to the mesh. This frees your creativity by letting you work in a non-linear fashion. q Use Transform:Inflate to exaggerate the ridge. It is then a matter of moving a few points to make major changes to the mesh. the mesh will adapt to the new shape without losing any details that you have sculpted at this higher level. Multi-resolution mesh editing enables you to sculpt any level of detail at any time.

Z Intensity of 40 and Draw Size of 25 are probably what you’ll need.Feel free to experiment with different sizes and intensities as you work. q Switching between Inflate and Pinch. chisel a ring around the mesh. Remember that you can switch between Zadd and Zsub by holding down the Alt key. This turns . q Use Pinch to sharpen these inflated edges.

. q Select the Intensity Metal material. add bumps and spikes to the armpiece. As with the breastplate. allowing you to cut the ring. so as to have a better impression of what the finished result will be.Inflate into Deflate. it is nice to be able to see a material applied to the model while working. q Using InflatDot and various Z Intensity settings. add small spikes to the edges. q Using a very small Draw Size and a high Z Intensity. The edges can then be sharpened using Pinch.

Click the “Create a texture and continue” button in the help dialogue box that will appear. Make sure that Color. Deformation and Normalized are active. Paint several lines as shown. Activate Projection Master. . the Single Layer brush. alpha 6. and the Line stroke.q q q q q Rotate the model to the position shown in the next illustration. Select a pale yellow color. Fade. then click the “Drop Now” button.

Feel free to experiment. cracks can be added most easily using Transform:Std rather than Projection Master). press the Projection Master button. (For example. using each form of mesh sculpting to add different kinds of details. . Also feel free to use color variations and even materials to really “rough up” the armor.q q When finished. This fading effect makes it much easier to blend the details together over several Drop and Pick operations. What it does is apply the strongest projections to polygons pointing directly toward the camera and no projections to polygons pointing to the side. then pick up the mesh. The Fade setting in Projection Master helps with this. Rotate the model to new positions and continue adding details. Remember that you can also return to using the Transform brushes at any time.

we’ll sculpt the head of the man who will be wearing our armor.ztl In Conclusion While no new ground has been covered in this section. The Warrior's Head .Here is where we finished. you should already be seeing an increase in your working speed. In the next section. You can duplicate our work. Since this section is meant to refine your skills with the various techniques employed. you should experiment as much as you like! q Save your model as ArmorPart4. It undoubtedly took you less time to create this upper arm piece than it did to create the breastplate. or try new ideas of your own.

It doesn’t need to be! Through the use of ZSpheres. Since this tutorial builds upon the techniques already covered in the earlier sections. Activate Transform:Edit Object.Since this section builds upon techniques taught in the previous parts of this tutorial. we will not go over many of the basics. Add two new ZSpheres as shown below. So let's start! q q q q q Initialize ZBrush. the various sculpting tools. and Projection Master. Many people consider realistic heads to be one of the most difficult modeling tasks. It will generally be assumed that you know how to do many of the steps. change the Draw Size to 1. . Select the ZSphere tool and while holding down the Shift key. you can sculpt a believable head nearly as easily as the armor pieces that have been done thus far. multi-resolution mesh editing. draw it on the canvas. it is highly recommended that you complete those first. As always when working with ZSpheres. and then press the X key to turn on X symmetry.

q Activate the mesh preview. as well.q q Rotate the model to the side. Move the ZSpheres into their parent so that they will create indentations. . and hold down the Shift key to snap to a perfect side view. q Add more ZSpheres for the ears. Move the mouth and ear Zspheres into the parent. nose and mouth.

The mesh now looks much more like a face. . q Set Ires to 1. q Make an Adaptive Skin. in this case we have four children on the same side. Each face of the cube normally can have one child in order to create a clean mesh. This can be resolved by changing the Ires setting from its default of 6. and draw it on the canvas.The problem here is caused by the fact that ZSpheres are treated as cubes for skinning purposes. However.

depending upon how many points you wish to affect at a time. Be creative as you move points around. you can use the Geometry menu to go to Subdivision Level 1. Alternatively. The following steps are a general guideline. move just a few points to create the neck. q q Enter Edit mode and make sure that X Symmetry is active. Using the Move tool and medium Draw Sizes (between 30 and 50). only. move points around to begin refining the shape. .We no longer need the ZSphere model. when adding the neck you will probably want to use a large Draw Size. then return to Level 2. Use different Draw Size settings while you work. The important thing is to block out the overall shape of the head while there are few polygons to contend with. For example. Its sole purpose was to give us a basic face shape that we can then refine using mesh editing tools.

you should try both approaches and decide which works best for you. we divided the mesh once. For this step. They only add a new level after they have accomplished as much as they can at the current level. adding a third subdivision level. Some like to sculpt as much as possible by moving a few points at a low subdivision level. different artists have different preferences. . q Continue to refine the face. the mesh resolution has been increased. Other artists prefer to jump to a high level and sculpt. Ultimately.Notice that for step 6. From this point on. There is no “right” or “wrong” way.

followed by Move mode to push it into shape (2). q q Add ears by using Inflate to create the raised ring of the ear (1). cheek bones and nostrils. begin adding brows. Change Draw Size and Z Intensity as necessary to get the results that you’re looking for.q q Divide once more. Move can also be used to refine the cheek shape (3) and the eyes (4). Using the Inflat brush. These steps are all illustrated in the image on the next page: .

q Divide the mesh once more. etc. Continue using Inflat to add details such as fatty tissues and lips. . dividing as necessary to add finer levels of detail. nostrils. q Continue work.

A lot is possible when you can work with millions of polygons in real time! Once the face has been sculpted. you will want to turn off symmetry and Move large parts of the mesh around a bit to keep the face from being unnaturally symmetrical. you can always return to a lower subdivision level. At some point. . you can also add character to your figure by sculpting details such as veins and scars. You might even rough up the nose and chin a bit to create pores or places for stubble. At this point. remember that Inflat can be reversed by holding down the Alt key.Remember as you work that even after you have divided the mesh. Also. q Begin by selecting the Colorizer 1 material. We’ll build a skin shader by using ZBrush’s copy and paste features for the Material palette. it’s time to apply a material.

What we have done is create a material with four shader channels. . Select the QuadShaders material. q Select the S1 channel again and press PasteSH. four-layered material effect that will appear to be somewhat translucent. the first of which is from the Colorizer1 material. The images below show the settings that you should use for each channel. We can now easily modify this to create a complex.q q Select the S1 channel and press CopySH to copy this shader.

a lot has been accomplished toward a “textured” appearance for the model without having to use any texture at all! The ability to create custom materials by copying and pasting channels together is truly powerful. Even so. For more detail. it is necessary to paint a texture. .As you can see. there is only so far that the material will take you.

It is as distortionfree as is mathematically possible. alphas and stroke types to begin texturing. New UV mapping can only be assigned at the lowest subdivision level. while still keeping the groups of polygons as large as possible. alpha 7. This assigns the Group UVTiles mapping method that is unique to ZBrush 2. q q Create a new texture by setting Texture:Width and Height to 2048. Remember that you can press Shift when near the desired orientation to snap the model into position. q Use your choice of brushes. q Press the Projection Master button. and then pressing New. q q Return to the highest subdivision level. and the Spray stroke. we began with the Single Layer brush.q Activate subdivision level 1. In our example. . select Colors and Fade. It is ideal for painting on using Projection Master. Assign UV coordinates to the model by pressing Tool:Texture:GUVTiles. then press “Drop Now”. Rotate the model so it faces the camera squarely. each.

use Projection Master to pick up the model and rotate it to a new angle. draw size. it is best to repeatedly pick up the model.The nice thing about the Spray stroke is that it has a random quality that is very suitable to texturing natural objects. No depth or materials will be added while we work. q Turn off Zadd. alone. and drop it again so that you can texture every part of the head that can benefit from the current settings before you changing them to add a different kind of detail. Vary your colors. Remember that in order to keep your texturing consistent across the entire surface of the model you shouldn’t try to do everything at once! Instead. Here is our texturing in progress: . since they allow you to build color up gradually. etc. Low Rgb Intensity settings are essential for realistic texturing. q When ready. RGB Intensity. rotate it to a new angle. and activate Rgb instead of Mrgb. This allows us to paint with color. blending it together as you go. This process of dropping and picking will quickly become second nature to you.

Check your work occasionally by doing one while the model is dropped.Many details will be added by the material’s cavity settings. however. The next page shows our finished result. These will not appear. . until a Best render is performed.

When modeling is finished. a complex material can be built by combining . This mesh can then easily be modified by using the many sculpting brushes available from the Transform palette. When prompted to save the texture with the model. Call it skin. More and more polygons are added to the mesh as necessary for the details that we wish to add. say yes.zmt. you should save your material by pressing Material:Save. In addition. In Conclusion Using ZSpheres.ztl.q q Save this head as Head. a very basic mesh complete with edge loops can quickly be blocked out.

your system might very well begin slowing down. ZBrush offers several UV mapping methods including the new GUVTiles. This is because our figure is going to be used within ZBrush and so each piece can be added to the canvas one at a time. Combining Everything Into a Scene This is where it all comes together! The various elements from the previous five sections will now be used to build a scene. Something that you may have noticed in the course of working on this project is that we did not attempt to create a single character but instead created a few pieces. If all four of them were active in a scene at the same time. Projection Master then provides an easy way to paint textures directly onto the model without the need to compensate for UV mapping distortions. This feature of ZBrush has several strengths. we at this point have four very “heavy” pieces in terms of polygons. You could actually build scenes with figures totally billions of polygons. What’s more. First. which will be finished and rendered. yet never sacrifice real-time interactivity. you actually only have one that exists as polygons at any given moment. But since ZBrush makes it possible to snapshot each piece to the canvas.elements from other materials. .

The second advantage to building one piece at a time is that these pieces can be posed any which way you please without the need for skeletal rigs or anything else. Before putting together the final composition. making room for fresh detailing without the need to build a whole new model. you can create an endless variety of scenes while saving hours off the time required creating each one. By building a relatively small library of reusable parts. This allows us to take advantage of ZBrush’s antialiasing zoom level for the best quality render. then set the Width to 1400 and the height to 1200. The other editing tools make it easy to reshape elements. you’ll need to define the size of the final image. Place each part where you want for the scene and you’re done! The third benefit is that pieces can be recycled from one scene to the next. we can change the width and height values independently. so we create it at 1400x1200. q Turn off Pro. With Pro turned off. q Click Document:New Document. Ours will be 700x600. The Smooth brush can be used to remove details. . for example to change the shape of a face and give him a new expression. The size of your document should be double the size of the image that you plan to export from ZBrush. creating documents with different relative dimensions.

the entire canvas could well be visible again. The Half-Sized antialiased view is now active. . q Press the AAHalf button on the right shelf.ztl The model is selected as soon as it’s loaded. This is not a problem. Load ArmorPart1. as you can zoom out to get a full view when you need it (such as when blocking out the scene). q Using the Tool palette.q Click Resize Your document is now probably too large to fit within the viewable area. then return to actual size when you wish to add detail. and depending on your display resolution. Draw the model on the canvas. scale and rotate it into the position shown. Move. q q q Select the Intensity Metal material. The advantage to working in this view is that you can see exactly what the final image will look like while you work.

The main difference is that you can change the object’s depth with this method. the material will not be in the palette. select any material that you do not plan to use in your scene (Fast Shader 5 is a good one) and then load the Skin. you could use the gyro.There are two ways that you can do this. Alternatively. Select the Skin material. If this is a new session. q Load the Head. At this point. you can use the sliders in Transform:Info to achieve very precise placement should you need it for a project. depending on your preferences.zmt that . q q Press Layer:Create to add a new one and make it active. That was fine for this piece since there was no need to change the depth. In the example above. In this case.ztl model. Also. Scale and Rotate icons from the right shelf to position it. the breastplate is now snapshot to the canvas and cannot be moved without clearing the layer and drawing it again. we entered Edit Mode and used the Move.

Use the gyro to move the head into position. q Use Move. The skin material will replace the other. Rotate and Scale as necessary to get the best placement. .you saved in section 5. Select the Sphere3D tool. q q Create another layer. Activate the Move switch. q q Draw the head on the canvas.

q Draw the Sphere3D. Use the gyro to position the second eye. . q q When it is positioned right.q Choose the Toy Plastic material. Use the gyro to move it into position within the head’s eye socket. press Shift+S to snapshot it to the canvas.

Create a new layer. Select the Basic Material. select the Plane3D. one with the head. For example. Also. q Use Scale to enlarge the background so that it fills the canvas. Draw the plane on the canvas and use the gyro to move it into a background position. We now have one layer with armor. Layers are far more than an organizational tool! q q q q For the background. if we decided that we weren’t happy with the head we could clear that layer and draw it again without affecting anything on the other layers. we will be able to paint on the eyes or armor without worrying about affecting the head in any way. and one with the eyes.Snapshot lets us create an instance of the object without having to turn off the gyro and draw a second copy. There are several advantages to placing intersecting elements on their own layers. This means that both eyes will be the same size. .

you will get the most dramatic results from them when working on a layer that has been baked. There are two important reasons for doing this: You could now use the correction brushes (such as Highlighter II. press Layer:Bake. Smudge and Blur) to add even more detail to the background. alpha 01 and the Spray stroke to do the majority of the painting. q When you are satisfied. you could use a little bit of color bump. . Since these brushes affect unshaded color. and even slightly increase the High Dynamic Range modifier to realistically brighten the sky. This changes the layer to the Flat Color material and converts the colors that are generated by the material on this layer to unshaded colors. For example. We used the Single Layer brush. it can be painted on without affecting the rest of the scene.q Paint your background using any method that you like. Because the background is on a separate layer. Modify the material properties if you like to make the background more visually interesting.

scale and rotate it into position. q Select the layer that the breastplate is on. the man in his armor will not cast shadows on the sky (which wouldn’t be very believable). We’ll keep both armor parts on the same layer so that we can paint additional details and keep them consistent across the figure.ztl tool. . q Load the ArmorPart4. q Draw the arm on the canvas and use the gyro to move.The Flat Color material is impervious to shadows. This means that when we set up our lighting and render the scene with shadows.

Now that the scene is blocked out. q Use the various paint tools. it’s time to bring it to life. and stroke types to paint character onto the head and armor. This is easily corrected by selecting the background layer and increasing the Layer:Displace Z slider by small increments until the background is completely behind the figure. then move and rotate the second one into place. . You may find that the second arm becomes partly submerged in the background layer. alphas.q Snapshot the arm.

Activate Zadd or Zsub when you wish to paint depth. q q Adjust the Render settings to match those from part 5. For example. q Adjust the scene’s lighting. Z Intensity and Rgb Intensity settings. but this time activate ZMode in the Light: Shadows menu. the Blur brush can become Sharpen and Highlighter can be used to darken instead. You might want to reuse the settings from part 5. the Shading Enhancer brush is great for adding shadows on the eyes caused by the eyelids. Simulate rust on the armor. . as well as toggling between Rgb and Mrgb. but otherwise turn them off. Also. All brushes with the split thumbnail can be reversed by holding down the Alt key. Press Render:Best Renderer.You can also add soft details using different Draw Size. Don’t forget to add details such as iris and pupil on the eyes. Change layers as necessary to paint the part that you wish. and in general have fun with the image.

info/docs/index.In Conclusion ZBrush is really powerful when editing your image to get the best effects using a combination of 2D tools. 2.zbrush. Retrieved from "http://www. This page has been accessed 3.580 times.php/Tutorial:_Warrior_Image" q q q q q This page was last modified 19:41.5D tools and 3D tools in one integrated environment. 8 August 2006. And all of that in real time! This gives artists the freedom to experiment a lot more than could be accomplished with either a 2D or a 3D program. Privacy policy About ZBrushInfo Disclaimers .

1 Light Settings r 3.2 Material Settings r 3. .Tutorial: Dragon Lizard From ZBrushInfo by Lonnie Sargent Contents q q q 1 Low-Resolution Mesh 2 Creating Details 3 Finishing Work r 3.3 Render Settings Low-Resolution Mesh This section of the multipart tutorial covers how to use ZBrush 2’s Edge Loops feature for modeling detailed meshes.

If you have not done so. but ZBrush offers its own unique base modeling methods which greatly simplify the Box Modeling technique. Part 3 of the tutorial will cover texturing.” A simple cube is taken and formed into a basic shape to which additional detail and form is added. rendering and post work. In Part 1 of this tutorial we shall use ZBrush box modeling techniques to build and define a low-density mesh. .zip file. please go through the starting sections of this manual and the ZScripts that were included with ZBrush 2 in order to familiarize yourself with all the new features. painting. Of immediate importance is that you understand and are comfortable with the new polygon selection capabilities presented in ZBrush 2. These tutorials are of an intermediate level. Part 2 of the tutorial will explore refining and detailing the model using new techniques and features found in ZBrush 2 . It is assumed you have a basic understanding of ZBrush and its features. A common method in the 3D world for building models is called “Box Modeling. The two alphas that are used in this tutorial are available in the Image:Lizard Files. This can be done in ZBrush 2 now as well.With the introduction of Edge Loops and many other exciting new features in ZBrush 2 we now have more flexibility than ever in our approach to building models.0.

Save your tool and save often! Now without further ado let us begin our journey.During the course of the tutorial I work in a document size of 1280 x 960. The benefits of this feature become more evident when dealing with larger ZSphere objects containing hundreds of branching sphere chains. The triangular vector inside the spheres indicates the child/parent relationship of the currently selected sphere. q Create a basic ZSphere object that looks similar to the one I have created. . The dual colors allow easier manipulation of the spheres and indicate the orientation of the mesh (press A on the keyboard to preview the mesh). The spheres are two-toned and you will see triangular vectors within it. You will notice as you create the object that the spheres are different from earlier versions of ZBrush. At the end of each of the steps of the tutorial I highly advise you to save your tool. In the event something happens you can always load the last saved tool without fear of having to start the tutorial from the beginning again.

as it will not affect the final outcome of the model we are working on but for purposes of following the tutorial you may find it helpful to match your mesh to the mesh I have created in the image on above. q You may find it necessary to tweak the model a bit by entering EDIT:MOVE and moving the vertices around. We will be working in this mode through the rest of this chapter. . If this is the case you may use the selection features in ZBrush 2 to isolate the mesh as shown in the six steps below to reassign polygroups. Move the vertices around until you are satisfied. 1) : The default polygroups generated. It is possible that your base mesh may not look like the image on the right. 2): Select the blue polygroups (your actual colors may differ). You should see two red dots appear in symmetrical relation to one another on the model.q q q We will be using an Adaptive Skin for modeling so set the Density of the Adaptive Skin to 1 and skin it. Clear the document and draw the new skin out onto the document. Make sure you are in X-Symmetry mode when doing this by pressing the X key on the keyboard. This is not entirely necessary in this tutorial. Enter Polyframe mode. 3): The blue polygroup is selected and the remaining mesh is hidden.

q Go to TOOL:GEOMETRY and DEL LOWER. q Subdivide the object once by pressing Divide located in the Tool:Geometry palette. 5) : Assign the selected area to a new polygroup . . q q While holding the Shift key rotate the object on the workspace until it snaps into a full side view.4): Invert the selection. You should now have two subdivision levels. 6) : The final grouping. edge loops may only be created on the lowest subdivision level thus for our purposes this step is necessary. Before we place the edge loops we must delete the lower subdivision level first. Use CTRL+SHIFT DRAG to select the two rows of polygons depicted in the image below. Now we will create the eyes. which will help us to further define groupings and place additional edge loops as we model. It is located in the same palette as the Divide command. By subdividing we are generating additional polygons.

With the object at a full side position we will be able to select the polygons needed on both sides of the head at the same time. Release both CTRL and SHIFT but continue to drag the selection box. Then press CTRL+SHIFT and begin dragging the selection box across the top polygons. To do this we will use the constrained HIDE SELECTION feature. . This indicates that any selection made with the red selection mode enabled will remove polygons from the currently selected group. This is the opposite of the green selection mode which selects polygons. You will notice it will turn from green to red. We need to further isolate the polygons we wish to work on. This is a handy feature but can be a bit tricky to get accustomed to at first. q q Rotate the rows of polygons while holding the SHIFT key so that they snap into a top view.

Ultimately when the model is subdivided several times this “square” area will become rounded. . It will be necessary to move the vertices around so they conform more to the shape of the original polys.You should now have two polygons on each side of the head selected. q Enter EDIT:MOVE mode to do this. q Create an Edge loop on the selected polys.

Create another Edge loop and move the vertices once again. This time move the vertices inward to create depth. . If you wait until after you have modeled in details to add edge loops you will be in for a nasty surprise. Once you have completed cutting in all the additional edge loops for the eyes and moving the vertices accordingly you should have something similar to the picture below. It is important to cut in all the edge loops that we need at this stage.q q Hide the outside edge loop of polygons by CTRL+SHIFT+LMB Clicking on them. This will become the basis of the eye socket later on. edge loops add geometry and if you add geometry after you have detailed your model you will find the change in mesh topology will destroy much of the detail you created. So it is a good habit to train oneself to think ahead and get those loops in early on during the initial model development.

Next we will select the jaw area and begin to add edge loops using the same method we used for the eyes. Your model should now look similar to the image below. Create an edge loop and move the vertices if need be. Hide the outer edge loop once again and create another edge loop (not shown here). Hide the edge loop of polygons you just created. Create another edge loop. . Clean up the vertices by moving them. q q q q q q Select the polygons just below the eyes all the way through the first row just behind the eyes.

. q Use the same procedure to create edge loops for the nostrils.Move vertices around a bit and make any final adjustments that beg for attention.

q To do this we first select the polygons that will become the tops of the ridges. q Make sure to move the vertices on the outer edge out closer to those edges.Next we shall create the top ridge of plates that run along the top of the head. Next you will create an Edge loop. Now we are ready to move on to making the actual ridges. It should look similar to the image at the right. The front three polys will each become a separate ridge and the back two polys near the base of the neck will form the largest ridge. . To create the ridge polygons on the back of the head we will use edge loops to extrude and make new polygons for us. q q Select the polygons that run along the top of the base of the nostrils all the way to the back edge of the neck as shown in the image at the right.

Then select the inside polygon and using EDIT:MOVE move the vertices out and away from the head. q q q Create an Edge loop around these selected polygons. The last step would be to move any vertices around that might need tweaking to get the final form. . New polygons will be created between the original position and the new position of the vertices. The blue edge loop in the image shows what this would look like when done correctly.q q Select just the tops of the polys (see bottom of image) then enter EDIT:MOVE and move the vertices upward. q Select the polygon that is about midway between the jaw and the base of the neck. Following this same procedure we will create a set of horns for our dragon creature. Create an Edge loop and you should have the first building block of your horn. Make sure to select it on both sides of the head and be certain you are in symmetry mode. Next click on the EDGE LOOP button.

Creating the neck plate at the base of the neck involves the same Edge loop extrusion process. move the vertices up and outward away from their original position. q Finish off by moving the vertices to give the horns final shape. . q q Select the last two rings of polys on the base of the neck. Using Edit:MOVE.q Repeat the process and while you are moving the vertices about make sure to turn them ever so slightly as you proceed so the horn has a gradually twist toward the front of the face.

However. If they become jumbled up now. all the polygons that comprise the horns. then they will be all the more messy to work with once you have subdivided the mesh several times. It is much easier to set things correctly now than to fix them later. .q Use the Edge loop command to generate the additional polys. The last step in creating our base mesh will be to determine areas that should have sharp edges. the base of the horns. We are after that small ring of polys on the inside edge so make certain you generate them with the Edge loop command. be careful to keep the vertices in a neat and orderly fashion. move the vertices to form a nice sweeping form. and the blue and purple polygons that make up the neck plate. Don’t be afraid to exaggerate the form a bit. Flare it out near the top and tighten it up near the bottom of the neck. q Simply select the yellow eye polygons. We will do this around the eye socket. You should get results similar too the image on the right. and the base of the neck plate. Then immediately follow it with another Edge loop command. q To finish off the neck plate.

The final model should look similar to the image depicted below. If you feel confident enough about the tools I encourage you to experiment and make alterations. Crease is a very powerful tool that can aid you in both organic and mechanical modeling. When subdivided. Experiment and have fun. If left at the default value of three then the crease will remain in effect through three subsequent subdivisions after which it will begin to smooth. . these edges will remain weighted or crisp and will not be smoothed. The CreaseLvl setting next to the Crease button tells ZBrush how long the crease will be propagated when subdividing.q Next simply press the Crease button located in TOOL:GEOMETRY menu. Small dotted lines will appear around the edges of your selected polygons.

.Creating Details With the base modeling complete. the tutorial now moves to the subject of high resolution details.

how to create custom alphas on the fly while modeling.0 and load the model you created from Chapter 1 of the tutorial if you haven’t already done so.In this second chapter we shall be focusing entirely on detailing our model using many of the new features to be found in ZBrush 2. q The first step will be to Divide the mesh twice. and how to use Projection Master to advantage painting in details. Let’s have fun.0 . . So fire up ZBrush 2. We will take a look at how alphas can be adjusted and put to good use.

This should place the mesh at three subdivision levels. You can also store a morph target and then use the Morph brush to revert to the stored geometry. Move the polygons around the eye area to create a round socket. This edit feature is ideal for fixing mistakes. These can be found in the Transform palette. Should you run into a situation where an area has become overworked and looks a bit nasty then just use the Transform:Edit Smooth Brush and smooth out the polys. Generally a Zadd setting of around 8 to 12 will suffice. You can clean up afterwards if need be with the Smooth Brush. My particular favorites at this stage of the modeling are Standard and Inflate . or even flattening the surface of an area. I switch back and forth on brush sizes large sizes to cover large areas and small sizes to do finer edge work. You will want to take the opportunity to shape the eye at this point. It is at this point where all the extra edge loops we created around the eyes and mouth will come in handy. . With the added geometry in those areas we can inflate and add detail much easier without fear of stretching too few polys over a wide surface area. During this “roughing out” phase I like to use several TRANSFORM:EDIT BRUSHES . smoothing rough spots. After you have worked over the model use Edit:Move to move large areas like the neck flab into a more natural-looking state.

This in effect hides the area you selected first and reveals the areas that were hidden. q q CTRL+LMB CLICK anywhere within the document window but not on the model itself. q q We need to tighten up a few lines so let’s use the Pinch Brush. The masking ensures that the rest of the model will remain unaffected when we use our large brush size to move the vertices of the head ridges. Set your brush size to a large size (around 50) and proceed to EDIT:MOVE the vertices until you get the shape and form you are after. This will mask the visible area. You can now reveal the entire model and as you can see the entire model save for the tops of the head ridges has been masked. Set ZAdd to 50 and set the brush size to about 8 or 10. .q The ridges on top of the head need to be a bit larger so CTRL+LMB CLICK to select them then perform an inverted selection by SHIFT+CTRL+LMB Dragging across the document area away from the model.

q First Divide the mesh two more times. You should be at five subdivision levels now. teeth. especially around the edges of the teeth. lips.q Use it on the line between the lips and also near the base of the horns where the horn meets flesh. I often use Pinch on eyelids. Use the Smooth Brush to smooth out areas that get a little rough and continue. . This will tighten the lines and give a nice sharp form. Next use Zadd with the Standard Brush and begin working in some basic teeth shapes. and around the nostrils. Let’s add a little more detail around the mouth. q q q q Using the Standard Brush turn on Zsub with a setting around 10 and a small brush size and sub out the areas where the two teeth will be placed. It is also a very handy tool for making scars. Use Inflate Brush and Pinch Brush to punch the details.

Use Edit:Move to push some of the polys around to get a more pleasing shape. . q Use both Standard Dot Brush and Inflate Dot Brush to place some bumps and warts around the face area. q q Use the Inflate Brush to add in some detail around the snout area. I did that with the nose to get more of a slope on top.There is no need to overwork it at this point since we will be coming back to the teeth once we have subdivided again. Now let’s add some bumpy bits to the model.

Activate Projection Master. . hiding all but the area that you wish to work on. q q Rotate the model so it is in a side viewing position. q Divide the mesh two more times. This should put it at seven subdivision levels. Now it is time to roll out the big guns and get Projection Master cranking. at this level the mesh will most probably be around 1. Be warned. If your system has limited resources you may want to limit the subdivision to 6 levels instead of 7.5 million polygons.I used the Standard Dot Brush with a high setting to create the little horns near the mouth opening. Remember that you can speed up interaction with a high polygon mesh by going to a lower subdivision level before rotating it. and then returning to your highest level.

I generally use a setting of 1 or 2. I used Alpha Brush 03 with a Focal Shift setting of 70 in conjunction with the Simple Brush using DragRect stroke to lay in the rough areas on the skin. When working in Projection Master at this point we are only concerned with creating surface detail so we will be working with Zadd and Zsub exclusively. You are now ready to begin displacement painting. and Normalized are all marked.q q Turn off Colors and make sure Double Sided. . Click the Drop Now button. Fade. q Use small values of Zsub and Zadd. Deformation.

The scale texture on the bottom of the neck was created using a custom Alpha that I created on another layer while working on the model. activate Projection Master again and click on the Pickup Now button. The detailing we painted will be picked up and the displacement will be calculated and applied to the mesh. q Once we are done with this level of detailing.You should not at this time have any other Drawing features enabled such as RGB or Material . . The Resources\Sargent folder contains the two alphas that were used. q I used the Single Layer brush with ZAdd and DragRect stroke to lay in the scales.

You may notice the detail is a little less defined and not as sharp as it was when we were painting it on. The crispness of the detail is completely dependent on the mesh density of the model you are applying it to. To retain high levels of fine detail it will be necessary to create models with polygon counts in excess of one million polygons. If your computer has the resources you can go significantly higher. If you are having difficulty working on the entire model in this manner you can select portions of it and hide the remaining mesh. Projection Master can be used on selections just as easily as the whole model. Working on small select areas will help to optimize computer performance and make it easier to manipulate large polygon meshes.
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Now, using Projection Master and various alphas, continue to paint in details.

I specifically like to use Alphas 7 and 8 with Focal Shift set to around 90 or 95. These alphas in conjunction with the SimpleBrush and SingleLayer Brush make good work of laying in lines and creases.
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Use a Zadd or Zsub setting of 1 or 2 and set the stroke to Freehand with Zero spacing. You can also at this stage accent certain areas of detail by adding to them.

For example the scales on the neck of our dragon creature could use a little more definition.
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Use the SimpleBrush and Zadd to accentuate some of the larger scales. Do the same on the ridges on the top of the head and the lips around the mouth. Put lines and creases around the eye socket.

Another custom alpha was used for the bumps on the head. It is also found in the Image:Lizard Files.zip file.
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Activate Projection Master and Pickup the model.

The details will be applied to the mesh.

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We repeat the process to detail the horns and the neck plate.

Notice I selected the horns and neck plate and worked on them individually. This makes it much easier to get into tight hard to reach areas. It also takes the strain off system resources.

Here we have the final result.

I encourage you to experiment with detailing in Projection Master using your own custom alphas and settings.

Finishing Work
With high resolution detail sculpted, we’ll complete the project by focusing on 2.5D painting, lighting, materials and rendering.

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If you do not already have it available go ahead and load the Dragon Head you created in the previous chapter. Draw it on the workspace and move it into final position. Enter Edit mode by pressing the T key on the keyboard and choose a light sandy brown color from the Color menu. Fill the object with this color (Color:Fill Object) and drop it to the workspace by pressing the T key again.

It is not necessary to choose a material at this time. We will be creating custom material later on. The default Fast Shader material will suffice for now.

Now we will begin to paint in darker and lighter values of color.

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Select the Paintbrush, SprayStroke, activate RGB mode and set RGB value to 20. Select a darker brown and choose a Draw size of around 80. Begin making strokes across the model and darken areas to suggest shadow.

The paintbrush allows you to lay increasing values of color with each stroke so apply it in short overlapping strokes. This will keep the color from looking too uniform. We will do the same for adding lighter areas of color.

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Using the same technique as before select a light crème color but change the brush size to 40 and apply it with the Dots stroke. Work in light areas around the face and surface areas that should be emphasized.

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Change the color to a medium red and set the brush size to 80. Change the RGB setting to 5 and paint in some red to give the color work a little more impact. Switch to a light Cyan color and do the same.

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Select the Shading Enhancer tool. Set RGB value to 10 and select the Dots stroke.

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Set the brush size to about 20 and use the Shading Enhancer tool to lighten up areas that should be highlighted.
Image:PM Lizard files image092.jpg

This includes raised features such as the brows and head ridges, areas around the mouth and neck folds etc.
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Use the Shading Enhancer tool to darken in recessed areas by holding the ALT key. Paint darker areas where the facial features recede into shadow.

We will now add an eye.

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Begin by selecting the Sphere3d tool from the Tool menu. Select a dark red color and choose the Toy Plastic material. Create a new layer in the Layer menu. With this layer selected draw the Sphere3d into the eye socket. Press the W key on the keyboard to bring up the Gyro. Move the eye into position. When done press the W key again.

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To texture the eye choose the Shading Enhancer brush. Set RGB intensity to 10 and the brush size to 18. Select Alpha 01. Start by working on the area of the Iris.

Lighten it up until you are satisfied with the results.
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Decrease the size of the brush to get sharper highlights. To paint in the pupil choose the Simple Brush from the Tool menu. Set RGB to 100 and select black from the Color menu. Select Alpha 12 from the Alpha menu and set stroke to DragDot with a size of 8 and place the pupil on the eye. Next select Alpha 09 from the Alpha menu and set the brush size to 22. Position this dark circle as shown in the above image. Select the Shading Enhancer brush again and set RGB intensity to 5 with a brush size of 15. Add additional highlight around the darker area outside the pupil to give it additional interest. Change brush size to 8 and the RGB intensity to 20. While holding the Alt key draw in dark areas around the outside edge of the pupil and around the top edge of the eye just under the top eyelid. Select the Simple Brush, set RGB intensity to 20, select the Dots stroke, and set brush size to 4. Choose a golden yellow color from the Color menu. Add a few bits of color to the iris area. Select the Shading Enhancer brush and set the brush size to 8 with RGB intensity of 20 and

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darken the middle part of the iris slightly. We are ready to apply lighting, materials and render settings.

I have provided snapshots of all the settings to help you in setting up your final render.

Light Settings

21 r Color: White r Shadows: 50 with intensity 100 blur 2 .q Light 1: Sun r Intensity: 1.

40 r Color: 197. 247 q . 143. 250.q Light 2: Sun r Intensity: . 106 r No shadows Light 3: Sun r Intensity: .45 r Color: 255.

206 Apply the new material to the model by Copying the material and Pasting it into the Fast Shader material slot. mouth. q Created from the BasicMaterial r Ambient: 0 r Diffuse: 75 r Cavity Intensity: 15 r Cavity Colorize: .3 r Cavity Color: 236. q The entire model will now be covered in the custom material we created. 223. and skin folds. Using the Simple Brush with only Material selected (Rgb.r No shadows Material Settings I used two materials. nose. which are identical except Material 2 has a specular value of 20. Zadd etc turned off) paint in the specular material around the eyes. Render Settings . q q Paste the material into another material slot and increase the specular value to 40.

Go to the Texture palette and select the newly created texture. Once it is rendered. In the Render:Fog menu click on Fog Alpha and select the fog texture we created.q q q Fog enabled with Intensity 100 and Depth 2 of . . Click on Best render to generate the rendered image. press Texture:Grab Doc.7 Alpha used in Fog Alpha Contrast Adjustment: 25 See Adjustment graph in picture q q q q q To create the fog alpha select Alpha 01 in the Alpha palette and press Alpha:Make TX. Click on the Invert button to invert the texture.

Alternatively. Select the Flat Material in the Material palette. you can press Ctrl+F. We are almost done. The color is looking a little flat so let’s liven it up a bit with the Saturation Brush . q Finally choose the Blur Brush from the Tool palette and blur some of the farther edges of the image. .This is a fast way to capture the entire document as a texture. q q Select the Saturation Brush from the Tool palette. q q After adjusting the color in this fashion select the Contrast Brush from the tool palette. Deactivate the other layers and make sure you select the newly created empty layer. Drag the brush across portions of the image to increase contrast. Now paint over areas of the model to increase the color levels. Be careful not to overdo it. Set RGB intensity to 5 and choose Alpha 07 from the Alpha palette. Make sure you are using Dots stroke. You can do this from the Texture palette by pressing the Crop And Fill button. A little goes a long way so don’t overdo it. Feel free to experiment with the other 2d brushes in the Tool palette. Set the RGB value to 2 and the brush size to 60. Select the rendered image we grabbed in the Texture palette. q q q q Next create a new layer from the Layer palette. Turn off Fog in the Render palette. Fill the empty layer with the grabbed image and flat material. We have now completed our image.

0 . There are numerous other techniques that can be used to accomplish the same results we arrived at here. Privacy policy About ZBrushInfo Disclaimers .0 . I encourage you to play and have fun with all the various tools. Retrieved from "http://www.php/Tutorial:_Dragon_Lizard" q q q q q This page was last modified 23:15. 13 August 2006. This page has been accessed 4.zbrush.info/docs/index.327 times.This tutorial has touched upon several key elements used when working with ZBrush 2. You will be surprised at just how many ways there are to skin the proverbial cat within ZBrush 2.

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