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),

topology/cavity/color based maskings. 29 June 2007. real-time posing with ZBrush's Transpose functionality. 3 years in the making.q q q q q q q q q q q full 3D sculpting and texturing with alphas and textures. We hope you enjoy The Next Step. mesh retopologizing. This page has been accessed 62 times. mutithreaded support for up to 256 processors.5D /3D mesh projections. perspective camera. 2D / 2.info/docs/index.zbrush. The Pixologic Team Retrieved from "http://www.php/Welcome_To_ZBrush" q q q q q This page was last modified 02:58. tested. Privacy policy About ZBrushInfo Disclaimers . support for 32 and 64 bit systems. and more. ZBrush 3 sets out to unleash the 'artist within' and create an environment that is an extension of your own creativity. We have refined. one-click turntable recording and quicktime export. advanced ‘digital clay’ with up to one billion polygons using HD geometry. and refined again every feature.

3 Upgrade From ZBrush 2 r 2.2.7 Online Activation – The Portable Licensing Solution r 2.1 Activation s 2.2 Email Activation s 2.10 Lost Serial Numbers r 2.2 Volume License s 2. .1.Installation From ZBrushInfo Contents q q 1 Installation r 1.1 Windows Vista: Important Notice r 1.2.exe.1.2 Personalizing Your ZBrush s 2.1.8 Upgrading Computers r 2.3 Educational r 2. Simply double-click the ZBrush3_Setup.6.2.6 Activating ZBrush s 2.2 Installation Errors 2 Licensing r 2.3 Phone Activation r 2.6.5 Windows Vista Notes r 2.6.2 License Types s 2.1 About Licensing r 2.6.4 Installing ZBrush in a Network Environment r 2.1 Online Activation s 2.1 Individual License s 2.6.12 Other Questions Installation Installation is fast and easy.3 Check-in a license s 2.11 Selling Your License r 2.6.9 Recovering From a System Crash r 2.

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

. 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.

Once installation has begun you will be asked to install a C++ 2005 Redistributable Package. 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. This package must be installed for ZBrush to run properly. If it is not installed you may get a side-byside configuration error. . Click Finish to end registration.

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

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

Activating ZBrush The first time you start ZBrush 3. Windows Vista Notes It is important that you right click on the executable of ZBrush inside the ZBrush directory and choose Run As Administrator. You can activate the following ways: q q q Online Activation Email Activation Phone Activation Online Activation . you will be presented with an activation screen. Running as an administrator the first time ZBrush is started may cause permissions problems with the license files. You can also set it to permanently run as administator by choosing Properties from the right click menu.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. see here.Educational Licenses are for non-profit use only. email address and physical address to support@pixologic. Upgrade From ZBrush 2 To upgrade to ZBrush 3 email your order id. and are available to students or faculty of accredited learning institutions. full name. For a list of current resellers. These licenses may only be purchased through authorized academic resellers and require Proof Of Academic Ownership.

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

ZBrush will open to the new welcome screen. Note: Remember to check-in your activations (deactivate your license) from machines that you no longer use. Click Continue Wait while ZBrush validates the serial number. 6. Click Continue A ZBrush Serial Number window opens. 5. This option does not work for activations handled over the phone or via email. When it finishes. First among those benefits is that you can take ZBrush 3 with you where ever you go. Please note. When you run ZBrush 3. When ZBrush 3 is activated onlilne it obtains your name from our purchase records and stores that within ZBrush. 4. Simply install it. you won't be able to move the license to another machine.2. you can only deactivate a license that was activated online. 3. This takes several moments. in a menu called “Pixologic” The ZBrush Activation Method will appear. If you don't do this. activate it and personalize it. 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. 7. The internet activation method is selected by default. ZBrush will then be deactivated and your activation will be returned to the license server to be used on another machine. Congratulations! You are ready to begin ZBrushing! Personalizing Your ZBrush Personalizing ZBrush is only possible with online activation and has many benefits. Email Activation . 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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A confirmation window will appear. When it finishes. 13. ZBrush will open to the new welcome screen. A countdown will show how many days remain during the grace period. 10. Select the button for “Send Email Activation Request” 4. ZBrush will stop working. 9. Double-click that to run it. 3.If you choose to activate via email. At the Activation Method window. The internet activation method is selected by default. Click OK 6. 12. Your desktop now has an icon for ZBrush 3. you will have a grace period of 7 days before you must complete your activation. 16. When you receive your activation code. Email activation requires all three of the following: q q q Serial Number Activation Request Code Activation code 1. 15. Send the email. Click Continue 5. Click Activate. launch ZBrush. You’ll find it in a menu called “Pixologic” 2. choose the “Activate later” option and continue. The software has also been added to your Start Menu>All Programs. Enter your serial number that was emailed to you after upgrading. Any time you launch ZBrush before receiving the email response with your activation code. Your email client will open with a pre-generated email containing an authorization code. 8. 11. You will receive your activation code well before the grace period runs out. 1. They will help us if we need to contact you for any reason. Company name and phone number are optional. The ZBrush Activation Method will appear. 7. click “Enter Activation Response Code” 14. Congratulations! You are ready to begin ZBrushing! Phone Activation . Enter the activation code that was mailed back to you. 17. Enter your first and last name. Unless you obtain an activation code from Pixologic. This takes several moments. Wait while ZBrush validates the serial number.

Phone activation requires all three of the following: .

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

Copies that are activated by email or telephone cannot make use of this portable license system. 2. Please note that this requires online activation. and will then quit. For example: You have installed ZBrush on two computers. Very important: Your serial number is YOURS. ZBrush will notify you that the license has been returned to the server. Upgrading Computers Pixologic understands that you’re likely to upgrade to a new computer at some point during the life of ZBrush 3. 1. 2. Be careful to remove all important data from your old computer! Remember to protect your ZBrush 3 serial number. Using this system. you can take your copy of ZBrush where ever you go.com to have one sent to you. On your old computer: 1. 2. It is very easy to do this. Install ZBrush. To install ZBrush on a third computer and use it as a portable license. One computer was activated online. contact support@pixologic. 6. you must have activated the copy being checked-in online. Deactivate your license using ZPlugin:License:Deactivate License. you must deactivate the license from the computer that had been activated online. On your new computer: 1.5. . Do not give it to anyone else to use. and one was activated by telephone. Activate ZBrush 3 using your serial number. Install ZBrush on another computer and activate it using the Online method. Uninstall ZBrush using Add/Remove Programs in the Control Panel 3. If you need a new download link. You will then be able to use your serial number to activate ZBrush on a third machine using the online method. While it is possible to have activated some of your computers using the telephone and email options.

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

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

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

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

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

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

5D) Color Information X and Y Position Information Z or Depth Information Material Information How Pixols Work .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.

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

Material and Depth information to render your canvas to screen for you. 2. The real-time render engine combines the Pixols RGB. set our Draw Size 3.1. select the simple brush from the Tool palette. Make sure that Zadd is on. Then paint a stroke on the canvas. 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. Lighting and Rendering . that MRGB is on. The image to the left shows you how ZBrush combines these attributes on the canvas for you. 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.

While this may be an overstatement. the Render palette allows you to control your render quality and add various special effects to put that finishing touch on your work. The Light palette gives all the control that you need to be able to effectively light your images.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. Meanwhile. The Light Palette Click above to go to the reference section for the Light palette. . The Rendering Palette Click above to go to the reference section for the Render palette. it is true that poor lighting can wreck an otherwise excellent image and careful lighting can add tremendous mood — and emotion — to a scene.

with certain materials. the lighting. and the 3D objects.Materials In ZBrush. using numeric settings as well as interactive graphs. ZBrush materials are always “live. the Sphere brush. Always remember that unless Render:Flat Renderer or Render:Fast Renderer are active. and reflectivity. transparency. if you use a particular material to create .” In other words. you might need to use the Render:Best Renderer mode to see changes. 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. including its base coloring or texture. the way a surface looks is the result of a combination of factors. and its material. 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. including the 3D brush.

levels of resolution.dxf. Not only does this allow you to easily change your mind regarding a material at any time.ZTL's included in the ZBrush/ ZTools directory.obj or . any pixols that use that material will change in appearance to reflect the modified material. PolyPainting. You can create 3D models in ZBrushing using ZSpheres or the .ZTL stores all your sculpting.pixols. This is ZBrush's native file format. and then modify that material later. but it can allow some interesting artistic possibilities. or to modify it on the fly.ZTL file format. Moving Your 3D Model on the Canvas . 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). HD Sculpting. 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 . . Looking At 3D Models In-Depth File Formats 3D models can be brought into ZBrush as an . SubTools.

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

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

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

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

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

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

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

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

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

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

To collapse a tray. These trays are used to keep palettes open continuously. For example. click along its outside edge.Clicking this separator will expand the tray. However. In the default configuration. Palettes can sometimes get to be so long that they go off the bottom of the screen. By dragging within empty space in the palette. . click and drag up. To help you find the right spot. Move the pointer into any blank space within the palette. 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. if you are sculpting a model. there is a pair of arrows at the vertical center of the interface.q Open all of the menus within the Render palette. 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. you can slide its contents to reveal the hidden items. click its separator bar. When working with palettes. This allows you to use them however you see fit. both trays are empty. you might find that you return to the Tool palette frequently. q q To open a tray. When it changes to up-and-down arrows.

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

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

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

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

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

go to Tool: Load. it has UNDO. Below we will look at how we can work with digital clay inside of ZBrush. First. 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. . or Z depending on the axis that you want ZBrush to mirror across. A ZBrush tool holds all your geometry information. its digital clay. digital clay has several important features that will be important to artists who are looking at or involved in digital art. 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. in ZBrush.Digital Clay From ZBrushInfo Sculpting in ZBrush can give the user the feeling of working in actual clay. Rotating. First. Next it has mirroring or symmetry. This can not be underrated. To activate mirroring in ZBrush go to the Transform palette and press X. Y. However. You can sculpt one side of your mesh and have the other side update as well. a texture map and an alpha map.

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

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

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

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

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

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

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

. Here I have established a bit more the shape of the ear and the orbit of the eye. 7. I have also roughed out the mouth area. 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. The rake is a great way to integrate and soften forms into each other. The orbit of the eye is very important to establish at this time as it is crucial to the character of the sculpt. Then.5. I will only do this AFTER I have established the barrel of the mouth which I do in the previous step.

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

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

handle the high polygon count of a ZBrush model. Privacy policy About ZBrushInfo Disclaimers .php/Digital_Clay" q q q q q This page was last modified 23:56.info/docs/index. This page has been accessed 109 times. 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. 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. its best to leave the scale slider at 1 to avoid adjusting the overall scale of the model. Use Dxf to export a .zbrush. This is where displacement maps and normal maps can be used to send your sculpting from ZBrush to another application. 29 June 2007. Also. To learn more about any of these controls you can press CTRL on the keyboard and hover over the interface item inside ZBrush.

Wrap Mode or Density. Gouges and Brushes From ZBrushInfo Sculpting inside of ZBrush is fast and direct. Each brush has a unique property that allows it to do something the other brushes can not." Rakes. brushes in ZBrush can be modified using several important controls such as Gravity. 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. Also. Once the model is in Edit mode you can begin sculpting on the surface right away. ."Scalpel. please. In this section we will briefly explore what it means to sculpt inside of ZBrush and the tools available to you.

To select an alpha you can do two things: .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 learn about saving brushes visit the Brush Manager page. Alphas: Control the Shape of Your Brush You can control the shape of your sculpting by using an Alpha.

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

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

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

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

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

Draw again to get this: As you can see. 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. A slow stroke will create a uniform line (especially when lazy mouse mode is active). separating it into sections. . The closeness of each alpha to its neighboring instances is determined by how quickly you move the mouse. we're going to use the stroke to add some rings around the column. while fast movement will create a blotchy effect that is useful for some organic work. For this example. What's especially nice about this stroke is how precise it is. You can place your alpha instance(s) in exactly the desired position.

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

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

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

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

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

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

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

Manipulating Masks This section addresses how you can create and manipulate masks directly on the screen.1 Paint Masks: r 2.2 Drag Rectangles Across Part of Your Object r 2.6 Unmask an Area r 2. Masks only apply when in 3D Edit mode. partially masked to some degree. (The stroke must begin on or close to the model. etc. The effect that operations such as sculpting have on masked areas of a model depends on the intensity of the mask at each point.Masking From ZBrushInfo Contents q q q 1 Masks 2 Manipulating Masks r 2.8 Create a Mask Using Topology 3 Related Material Masks A mask is an area of your model that is 'shielded' from sculpting.) Note: The sections below talk about manipulating masks directly as you model. Paint Masks: You can paint masks on your object directly by holding down the Ctl key while painting on the model. painting.) By default. Masked areas are not on/off. or fully masked. Also. the Tool:Masking submenu contains quite a few controls that can be used to generate masks automatically.7 Clear a Mask r 2. affect properties of masks and mask drawing. You can do the following. The following figure illustrates this: . masked areas show up as dark patches on the model. etc. (See ZBrush Modes.4 Invert an Existing Mask r 2. they can be unmasked. However.3 Lasso Parts of an Object to Mask r 2.5 Blur a Mask r 2. 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. Instead.

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

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

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

Polygroups are one way to organize your mesh. The example to the . Another way is to use Subtools. Your mesh is still one contiguous surface. Where SubTools create separate pieces of geometry.Polygroups From ZBrushInfo Polygroups allow you to organize the mesh with visual grouping information. Polygroups only create separate selection areas. 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.

upper right shows what Auto Groups will do. 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. Material Group Material Group will group the model based on shaders assigned in other 3D applications. UV Groups are very important to Multi Displacement 3. To learn how to hide and show parts of your mesh click here. The image to left shows UV regions inside of the Maya UV Editor. UV Groups UV Groups will create a new group for each UV section of the model that is in a unique UV region. Group Visible Group Visible will group the entire visible part of the mesh. The model will have to be exported from the other application with Material information in the OBJ file format. To turn this on you must enable Preferences: Importexport: Import .

Material Groups is very useful for transfering grouping information from other applications into ZBrush.zbrush. q Select More Than One Group 1. 2.info/docs/index.php/Polygroups" q q q q q This page was last modified 00:25. Press CTRL+SHIFT and click outside of the mesh. In order for you to work with them and for them to be visible you must turn on Transform: Frame. 3. q Invert Your Current Group Selection 1.638 times.Mat before importing the mesh. Press CTRL+SHIFT and click on the mesh where that group is. Privacy policy About ZBrushInfo Disclaimers . 4. 27 June 2007. q Show Only One Group 1. This page has been accessed 2. q Show All Groups 1. 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. Working With Polygroups You work with Polygroups directly on the surface of your model. Press CTRL+SHIFT then click and drag outside of the mesh.

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

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

If you analyze old master paintings. Set RGB Intensity to around 30 or so 7. Painting Basics: Covering The Surface 1. Paint away on your model! Painting Basics: Unify It All . 6. 3. 5. 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. 2. 3. 4. 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. Select Alpha: Brush 25 for a good spatter type effect 6. the muzzle of the mouth is reddish and the ears have a slightly purplish tint. 4.The best way to learn about painting in ZBrush is to use the Colorized Spray Stroke. 5. You just want to cover the surface with color. Follow the steps below: 1. You can see more of a complete tutorial about it here. Think in terms of warm and cool color combinations. Painting Basics: Establishing Color Zones Once you have the surface colored start to experiment with different color zones on your model. you'll see that the forehead is usually yellowish. 2. 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. This is not the stage to be refining or worry about anything beyond covering the surface.

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

If you do not have UVs you can create them inside of ZBrush by pressing Tool: Texture: AUV. Congratulations! You have now completely textured a model. PolyPainting . To learn more about Projection Master click here.1 Baking a Texture Map to PolyPainting s 1.7 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 1.6. To learn more about using UVs with PolyPainting visit the Polypainting page.5 Using a Texture Map to Paint with in ZBrush r 1. You can use the same texture.1 PolyPainting r 1.2 Baking PolyPainting into a Texture Map r 1.3 Set Up Your Model For PolyPainting r 1.6.6 How Do I Work With A Texture Map in ZBrush? s 1.4 Painting With Your Sculpting Brushes s 1.4.If you wish to continue PolyPainting simply press Texture: Texture Off in the texture palette and continue painting.4. Contents q 1 An In-Depth Look At Painting In ZBrush r 1.2 Control Your Brush Stroke 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. It will simply overwrite the information that was there before.

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

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

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

follow the steps below: 1. you have two options. Load the Model 2. 29 June 2007. Press Tool: Texture: Clr>Txr Done! Tutorials Using Photoreference Retrieved from "http://www. You will only want to import your UVs and not your mesh. 6. If not. Do you have UVs? If yes. at SDiv level 1. Divide the model so that its polygon count is close to your texture's pixel count. Privacy policy About ZBrushInfo Disclaimers .php/Paint_It%21" q q q q q This page was last modified 03:15. Baking a Texture Map to PolyPainting 1. 1. Set Texture: Width to 2048 2. will be different. Set your model's SDiv level to 1. Paint using ZBrush's 3D sculpting and painting tools 3. Back in ZBrush. 7. Press Texture New Texture 2. If you have sculpted moree since you laid out your UVs your mesh. Export mesh by pressing Tool: Export. Baking PolyPainting into a Texture Map 1. 5. Press Tool: Texture: Txr>Clr Your done. here is some info: a 2k texture map has 4 million pixels in it. Create UVs inside of ZBrush 1. skip this step. 3. Its still there. Press Tool: Texture: GUV or Tool: Texture: AUV 4. store a Morph Target by pressing Tool: Morph Target: Store MT. Set Tool: Geometry: SDiv to 1 2. Import your model by pressing Tool: Import. To do this. Load the Texture 3.2. Note: If you want to paint on a texture map in ZBrush you must use Projection Master. Create UVs outside of ZBrush 1. 2. simply restore the Morph Target.zbrush. 4. If its 2048 by 2048. Bake PolyPainting back to a texture map.info/docs/index. 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. 4. Create a texture at the size you want for your final map. Tool: Morph Target: Switch. If you want to learn the math. This page has been accessed 71 times. Your UVs only use 70% or less of that space so the pixel count is close to 3 million. At this point the texture map will override your polypainting. Don't worry. :) 3. Layout UVs in your other application.

they do not share any connected polygon faces. That is to say. 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. .

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

The only step we added was to equalize the levels of resolution. That's it! You have added a new part to your model. 2. Press Tool: Geometry: InsertMesh and choose the new part from the pop-up window. Re-select your original model from the Tool palette. 4. detailed creature we can begin to run into the barrier of our polygon limits. 1. Press Tool: Geometry: InsertMesh and choose the new part from the pop-up window. we may find ourselves with a need for more polygons. This will bring it in as a separate model for now. 4. 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. This is a star shaped polygon object. Press Tool: Import and navigate to the part you want to add to the model. 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. Add the new part to the existing model. Select the Tool: Polymesh tool. If you have levels of resolution we will modify the process slightly. The Polygon Count Variable When working with multiple objects or even large. This will bring it in as a separate model for now. 5. 3. Divide the new part so that it has the same number of resolution levels as the existing mesh. 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. Add the new part to the existing model. Equalize the levels of resolution. . 3.model. Re-select your original model from the Tool palette. Import the new part. Either way.

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

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

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

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

When you press Mesh Extraction. Using existing geometry you can quickly and easily create a jacket. 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. even boundary. gloves. ZBrush will calculate the boundary of the selected area. In order to create the smooth edges it will occassionly have to insert triangles and shown in the far right of the image below: . 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.Mesh Extraction From ZBrushInfo Mesh extraction is a fast and powerful way to create new parts to your model. duplicating that as another mesh. It also 'cleans' the edge of the extracted mesh to create a smooth. a helmet. in a sense.

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

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

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

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

20 June 2007. Privacy policy About ZBrushInfo Disclaimers .214 times. This page has been accessed 18.q q q q q This page was last modified 23:48.

. drag the end of the action line that is not the shoulder to rotate the arm.1 Topological Masking r 5. It uses three different elements: q q q An action line is used to move. scale.2 Blurring Masks and Joint Rotations r 5.3 Moving an Action Line Endpoint 2 Posing a Model 3 Moving a Model 4 Scaling a Model 5 Rotating a Model r 5. or rotate the model or some part of the model. In the Transform menu. In ZBrush 2. this allows you to easily pose your models.2 Moving the Action Line r 1.3 Transposing With Bones 6 Transpose Symmetry . and Rotate buttons control which of the associated transformations the transpose action line actually does. and then with Transform:Rotate active..1 Creating the Action Line r 1. For instance. but transpose can do all of what could be done by those brushes.Transpose From ZBrushInfo Transpose is a new feature in ZBrush that allows you to quickly position. and quite a bit more. those modes functioned as brushes. the Move. Contents q q q q q q 1 Understanding The Action Line r 1. draw an action line from the shoulder to the elbow. An optional mask causes transpose actions to be done only on unmasked areas of the model. Scale. pose or deform your model. To rotate an arm downward using transpose. you'd mask off everything but the arm. Amongst other things.

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

Posing a Model When transpose is used with masked and partially masked objects. Its distance from the viewer does not change. Release CTRL. it gives you a huge amount of power in creating your scene. click on the yellow rim of an endpoint and drag it.q q q To move an end of the action line. . The endpoint is moved in the plane of the screen. 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. to be precisely at a joint). including the ability to quickly achieve realistic poses of humans and creatures. then do the same thing while viewing along another global axis. 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. Here's a quick look: With Rotate pressed on the shelf.

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

Clicking on the center point rotates the model around the axis of the action line. 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 end points moves the model on a fulcrum.Draw another mask for the wrist area. .

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. .Let's draw another mask for the arm so we can rotate the entire arm upwards towards the head.

Moving a Model Action lines use a generalized move operation. 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. This allows for scaling and shearing.

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

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.) . r Drag away from the other endpoint to scale the model up. q To scale the model uniformly: r Drag the center of an endpoint.

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

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

This is mask blurring. the edge of the mask will be smoothed.q The mask will follow the line you drag out. q When you release the mouse button. . and the non-masked area. which allows you to easily widen out and smooth the area of partial masking between the fully masked part of a model. 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. More smoothing can be applied by Ctrl-clicking on a masked portion of the surface. such as a knee joint when the lower leg is rotated into a pose.

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

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

draw a ZSphere on screen and go into Edit mode. 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. Create more ZSpheres by clicking on the ZSphere in the center. To rig a model you start with the lowest (or at least a relatively low) subdivision level. Make sure that it is at a low level of resolution. .Rigging From ZBrushInfo Contents q 1 Rigging r 1. The positions of the ZSpheres are important but are not the only determiner for the effect on your skinning. First. elbow and chest. You do not want to rig the highest subdivision level. 3. Go Tool:Rigging:Select and select the mesh that you want to rig.2 A few tips to keep in mind: r 1. however. 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.1 Step By Step r 1.3 Preview your high-rez details on a posed mesh: Rigging Rigging in ZBrush is fast and simple. 2. It is currently being redone to comply with subtools and reworked to give the artist more control over rotation and weighting.

your mesh returns to your bind pose. Preview your high-rez details on a posed mesh: 1. 3. 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. you will want a ZSphere below the root for the hip. 4. Create your skeleton 2. Set Tool:Adaptive Skin:Density to the same number as the maximum levels of resolution for the mesh you are posing. Press Shift and click on the Tool:Adaptive Skin:Preview button. When your skeleton is completed. For a typical humanoid.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. A few tips to keep in mind: q q q Arms should be around 45 degrees or more away from the body. it should be off) and try to reposition some of your ZSpheres. 5.e. Privacy policy About ZBrushInfo Disclaimers . Press Bind once you are ready to test the weighting again. When you turn Bind off. and a ZSphere above it for the ribcage. Otherwise they can get caught up in the ZSpheres for the spine. press Bind. Press A to preview your low-resolution mesh in that pose. i. unbind the mesh by pressing Bind again (it should not be orange after this. This page has been accessed 4.397 times. This will preview your high rez mesh.info/docs/index. Pose your model using Rotate or Move. 4. If the weighting is not right. 3 January 2007. If this step is not done or is undone you will not preview your high rez mesh.zbrush. ZBrush is using an automatic weighting solution so check your mesh to see if it is weighted correctly. :div>:div> Retrieved from "http://www.php/Rigging" q q q q q This page was last modified 18:07.

HD Geometry allows you to divide your model to 1 billion polygons while only taxing your system with the polygons you are using onscreen.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 Levels vs SDiv Levels HD sculpting is an extension of subdivision sculpting. . but keep the portion of the model that is being worked with at any time to a size that leaves your system reponsive. you must activate it with its hotkey to perform HD sculpting. Pressing it will result in a preview of your sculpted model. Using HD sculpting. you first do regular subdivisions of the model you are working with. up to a level your system can comfortably handle. If you need further subdivision levels beyond that. HD Geometry Controls Make sure to read the description for the Sculpt HD button. These add polygons to your model exactly as for normal subdivision. you can perform HD subdivisions (as discussed below).

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

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

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

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

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

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

13. Press Tool:Adaptive Skin: Preview 17. Since the new topology is the active SubTool it will bring that in instead. . 11. Make sure that the base ZSphere is selected or that the root of your ZSphere chain is connected to it. Press Topology:Edit Topology. This page has been accessed 19. Press Edit Topology 14.zbrush. 24 May 2007. From here you can add them to another model as a subtool.php/Topology" q q This page was last modified 22:58. The steps for this are below: 1. 5. Press Tool:Rigging:Projection 16. Note. Make sure they line up correctly 7. Press Layer:Clear to clear the document 3. Retrieved from "http://www. Press Tool:Rigging:Select and select the design sculpt from the pop up window.985 times. If you want to push or pull points you can clear the mask that is automatically created by pressing Tool:Masking:Clear. 4. Press Tool:Import and select OBJ 4. Select the Simple Brush in the Tool palette to avoid ZBrush importing one model into another.info/docs/index. Adjust Tool:Adaptive Skin:Rez to a higher leve to get more polygons on your new mesh. right now there is a 25.3. Select the ZSphere you used earlier 12. This is the tool with the geometry you want to change. Your topology lines will now be ZSpheres that you can edit and adjust. Select the old model you want to retopologize 5. Importing Topology From Outside of ZBrush You can also bring topology in as an OBJ. Begin drawing new topology on your model. Press Ok to drop your model to canvas 2. Make the new topology sculpt the active SubTools by selecting it in the SubTool area. Press Topology:Select and select the previous tool.000 poly limit on the base mesh. 15. When you are done press Convert To Main and unpress Edit Topology. 9. Press Tool:SubTool:Append and select the newly imported model that represents new topology 6. 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.

q q q Privacy policy About ZBrushInfo Disclaimers .

1 Areas for Customization r 5.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 3.2 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 Setting Colors Affecting the Entire Interface r 3.3 Building User Menus About Interface Customization .

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

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

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

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

. making it appear as though the submenu is fading into existence. Of course. it’s time to examine changing the layout. With a setting of 0 you will watch the submenu scroll open. 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. you may wish to increase this slider in order to make the interface elements a little larger. At a value of 0. Document Fade: Sets the fade time in seconds of changes made in the menus. 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. A value of 1 means that any change will take one full second to become fully visible in the menu. This is how you move interface elements from one place to another. The trays are on the extreme left and right sides of the interface. Some of these sections are specifically for the purpose of holding interface elements. 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. any changes take place without fading. 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. The interface as a whole is divided into several overall sections. the submenu fades into view more slowly than the scroll effect takes place.high display resolution. With a setting of 1.

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

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

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

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

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. 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”. They can be placed anywhere within the available space. For example. This is a convenient way to hide all but the menus that you want to be available in your interface. the slots must be inserted in numerical order alongside the slider. . you can build complete menus with all the functionality of the default ZBrush interface. Alternatively. Want to take the Tool: Layers and Tools:SubTool submenus out of the Tool menu and make them independent? As shown in Figure 10. you can! Modify the interface to fit your own personal needs and workflow. In order for these to function properly. you can drag select menus into the custom menu list. They’ll always be available to you here. The options are virtually limitless. and in any order.With these tools together. (One note about the SubTool and Layers submenus: They feature a scroll bar with several initially blank slots alongside. The only remaining thought is what to do with these custom menus once you’ve created them. The first option is to leave them in the master menus list.) Custom menus may even be built using buttons that are created via plugins. Figure 11 shows how this was done with the Rapid UI interface. Once you have arranged the list to your satisfaction. etc.

and only shows those menus that were placed in the custom list. Once satisfied with your interface.Figure 11: The Rapid UI interface hides the master menus list. 21 June 2007.info/docs/index.php/Interface_Customization" q q q q q This page was last modified 05:47.628 times. You will then be able to load it manually using Preferences:Config:Load UI or through the Ctrl+L shortcut. If you simply want it to be available as an alternate layout. This page has been accessed 1. press Ctrl+Shift+I to set it as your custom user interface. Retrieved from "http://www.zbrush. Privacy policy About ZBrushInfo Disclaimers . which will be loaded every time you launch ZBrush. use Alt+Ctrl+Shift+I instead.

3.3.2.1 Representing Normal Maps as Textures r 5.2.3. For example. The intensity of a mapped pixel is interpreted as a height above the polygon.1 Object Space Map Uses s 5. . including how it relates to other types of rendering techniques such as bump and displacement mapping. and Normal Maps From ZBrushInfo This section is an accompaniment to ZBrush/ZMapper.4 Summary of Object Space and Tangent Space Normal Maps r 5.1 Surface Normals with Specular and Reflective Lighting 4 Bump Maps and Surface Normals 5 Normal Maps r 5.2 Normal Map Generation s 5. Contents q q q q q 1 Bump Maps 2 Displacement Maps 3 Surface Normals and Lighting r 3.2 Tangent Space Map Uses s 5. This is accomplished by applying a grayscale texture map to the polygon. up to a certain maximum.3 How Does Your Application Distinguish Between Tangent and Object Space Normal Maps? s 5.3 Normal Maps in Tangent and Object Space s 5. Its purpose is to provide an explanation of the basic conceptual concepts of the normal mapping process.Bump.4 Cavity Shading Bump Maps Bump mapping is a technique that allows a flat polygon to presented as if it had more geometric detail.2 Raytracing/Raycasting r 5.1 Converting From a Bump Map s 5.3. Displacement.

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

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

The angle between that arrow and any line drawn on the surface from the . (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 low-resolution model was just a little over 7000 polygons.

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

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

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

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

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

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

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

tangent space. or raycasting. normal maps do not. Bump maps cannot express as much directional information as a normal map of the same resolution. in normal maps through simple conversion of bump maps. Normal maps also contain implicit information about object space. The terms come from the raycasting and raytracing methods of rendering. but as was mentioned before. There are disadvantages as well. Raytracing/Raycasting A useful way of thinking about normal map generation is the idea of raytracing. converting to normal maps may well make sense. 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. instead of taking the time to construct new normal maps. There may seem little reason to do this. and the like. Bump maps do not carry such information. this method allows you to use existing bump maps. If you are finding this to be a disadvantage when working with bump maps. such as a wall. 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. and we won't go into them here. As a result.One of the easiest ways to generate a normal map is to calculate it from an existing bump map. to which they are similar. 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. As well as being very simple when it is applicable. . There are various tools to do this. conversion of bump maps is likely to be easy only when the map is one for a flat surface. Other cases may be more problematic.) 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). (Both words are often used in describing this particular technique for normal map generation.

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

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

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

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

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

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

You have full control over each channel. From this plug-in you can export 8 bit. 16 bit. 8dot8 separates out major and minor forms into two different maps that can be added together at render time.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. To use 8dot8 turn the status of Major8 and Minor8 . can flip your map as well as have access to the innovative 8dot8 file export. 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.

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

2005: Version C released November 2nd. 6. 2. "~" in file name to a dash "-" Version D changes: . 3. 2005: Version D released Version C changes: Added Multi-Displacement 2 for the Mac Changed tilde key. Click the button and it will export out a map for each option with its Status set to On.You can use DExporter to automate the exporting of several types of maps. 2005: Version A released October 18th. 5. Using Multi Displacement 2 1. 4. 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.

26 June 2007.632 times.info/docs/index. Privacy policy About ZBrushInfo Disclaimers . This page has been accessed 2.zbrush.Fixed some issues with 32 bit export for the Macintosh Retrieved from "http://www.php/Displacement_Exporter" q q q q q This page was last modified 20:44.

php/Integration_With_Other_Apps: _ZPipeline_Guides_%28written_for_ZBrush_2%29" . 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.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.info/docs/index.zbrush.

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

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color only (RGB) or material only (M).5 Modifiers: Editing Materials r 1.7 Mimic Materials 2 Transparency Introduction to Materials In ZBrush. and reflectivity. You can use materials with any tool that adds pixols to the document.2 Material Quick Palette r 1. using numeric settings as well as interactive graphs. the way a surface looks is the result of a combination of factors. transparency. and the 3D objects.6 Using Curves r 1.Materials From ZBrushInfo Contents q q 1 Introduction to Materials r 1.4 Types of Materials r 1. 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. the lighting. 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) . including its base coloring or texture. Remember also that the Draw palette allows you to paint with a combination of material and color (MRGB). and its material. including the 3D brush. the Sphere brush.1 Using the Material Palette r 1.3 Rendering r 1. Always remember that unless Render:Flat Renderer or Render:Fast Renderer are active.

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

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

Click the Save button to store the active material to disk in the ZMaterial (. For example. with a few exceptions. and you can create and save your own with the Save function. 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. Click the Load button to load a new material from a disk file into the active material slot. or until you render the document. hold the mouse cursor over its thumbnail for a moment until the label appears. in the Quick Palette. To choose a material. which reflects any changes you make to the material while editing it. When loading a material from disk it completely replaces the active material. A number of material files are included with ZBrush (located in the ZMaterials folder). 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. Thereafter you can replace the active material with the saved material with the Load function. Material Quick Palette The Materials quick palette shows all 76 available materials. To see the name of a material. The active material is shown in the large thumbnail. .Materials are depicted accurately in the document when you're using the default Preview renderer.zmt) format. 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. click its thumbnail.

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

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

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

The center of the effect is not necessarily the center of the object. 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. for example. . with the intial curves being the "standard" effect. the center of a Diffuse effect are those parts of an object directly facing (and hence most strongly effected by) a light. Using Curves To understand how modifier curves work. from the center of the effect to its outer edge.You modify the sliders and curves as you would any other such control in the ZBrush interface.

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

At the bottom left of the modifiers shown above is a small icon consisting of either one sphere.B.Mimic Materials Mimic materials allow adjustment of settings to simulate cavity maps and other more complex real-world effects. These define material maps for the A and B settings. The A controls affect the appearance of normal (flat or raised) areas of the surface. of the form ..A or . This can be reversed by setting your Cavity Transition to a positive value.. and these are described below. 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. while the B controls affect recessed areas (cavities). Redefining the material maps is a powerful way of affecting the results of mimic material ... or two paired spheres.

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

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

The sphere looks opaque where only the blank background appears behind it. For instance. . in the following image.Note: For best results with transparency. and then the red. the document background color was set to blue. transparent sphere was drawn half over the checkered plane and half over the blank background. 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.

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

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

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

Render Palette From ZBrushInfo .

color. Contents q 1 Controls r 1.6 Environment Subpalette r 1. Lighting.The Render palette controls which methods will be used to calculate the shading of scenes.1 Antialiasing Subpalette r 1.3 Fog Subpalette r 1.5 Preview Shadows Subpalette r 1. and material properties are evaluated.2 Depth Cue Subpalette r 1. and render-level special effects such as fog and depth cueing are included.4 Fast Render Subpalette r 1.7 Adjustments Subpalette Controls .

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

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

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

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

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

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

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

Preview Shadows Subpalette Preview Shadows:ObjShadow: Controls the intensity of the model's real-time shadows.3. Used only by the Fast Renderer. Range = 0 to 1. Default = 0. Fast Render Subpalette Since the Fast Renderer does not take materials into account. 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. Preview Shadows:BackShadow: Acts as a drop shadow cast by the current model and . Default = 0. and the most distant being the clearest. Used only by the Fast Renderer. Diffuse: Determines how much diffuse shading is applied to all objects on the canvas.For example. Ambient: Determines how much ambient (unshaded) light is rendered for all objects on the canvas.8. Range = 0 to 1. an ambient and diffuse setting for the entire scene is set here.

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

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

The four curves at the bottom of this subpalette are. Green Level. All adjustment values are saved with the ZBrush scene file.degrees causes the point of view to be infinitely far away. 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. the RGB Level. A setting of 180 degrees places the point of view right above the canvas. Range = 0 to 180 degrees. the adjustments can be turned on and off with the Adjust button. . Default = 0. respectively. After the values are changed. Red Level. and Blue Level adjustment curves Adjust: Enables the adjustment variables.

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

Privacy policy About ZBrushInfo Disclaimers . changing Depth will have little effect. Zero means that the light is directly overhead of the model.zbrush. This page has been accessed 3. A larger Length will lengthen and soften the shadow but will also increase computation time. A larger number means that the light is more in front of the model.BackShadow: Acts as a drop shadow cast by the current model and projected onto the canvas. Length: Increases the scan range that ZBrush uses to create the shadow. This can not be altered. Depth: Deepens and enlarges the shadows. All shadows fall at a 45 degree angle across the canvas.info/docs/index. at small settings of Slope.php/Render_Palette" q q q q q This page was last modified 19:49.331 times. Slope controls the angle in Y at which the light casts the shadows. Retrieved from "http://www. 3 June 2007. The effect of Depth depends on the setting for Slope. The slider value controls the intensity of the shadow. Slope: Equals the azimuth of the light used to project the shadow.

Artists can: q q q q q q Record just the canvas Record the entire ZBrush interface Show the menus or turn them off. 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.ZMV) and. Learn about the Movie Palettes controls here. By default. you will only record the document and your interface items will be skipped. Record timelapse videos Record turntables Record entire sessions Movies can be saved as ZBrush Movies (. if you have Quicktime isntalled. they can be exported.ZBrush Home Movies From ZBrushInfo The New Movie palette allows ZBrush artists to record their sculpting sessions. q To record a movie. press Movie: Record To record a movie of the entire Interface follow the steps below: .

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

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

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

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

5D) Color Information X and Y Position Information Z or Depth Information Material Information How Pixols Work .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.

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

info/docs/index. This page has been accessed 1.1. Privacy policy About ZBrushInfo Disclaimers . Make sure that Zadd is on. 8 June 2007.php/Pixol" q q q q q This page was last modified 01:26. that MRGB is on. Retrieved from "http://www. 2. select the simple brush from the Tool palette. Then paint a stroke on the canvas.zbrush.166 times. 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.

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 . 2. written in bamboo on a grassy background.Space Poly Continum: 2D. This tutorial covers creation of a ZBrush-type 'Z'.5D and 3D elements of a scene in ZBrush. with a few ladybugs thrown in. 2.5D And 3D Understood From ZBrushInfo In this section we will look at a tutorial that explains the different 2D.

This page has been accessed 36 times. 29 June 2007.5D Grass Bamboo Scene Part 4: Finishing Touches .php/Space_Poly_Continum:_2D% 2C_2. Privacy policy About ZBrushInfo Disclaimers .Adding a 3D Lady Bug and Rendering Retrieved from "http://www.Bamboo Scene Part 3: Creating 2.info/docs/index.5D_And_3D_Understood" q q q q q This page was last modified 20:31.zbrush.

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

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

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

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

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

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

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

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

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

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

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

so here are some hints.tools (including models). And if all else fails. regardless of how you do it. When you're working with 3D strokes. is to come as close as possible to these effect. this isn't a problem with ZBrush–it's just that's so flexible that it's easy forget settings you've changed. Not everything you need to know to do the above has been talked about explicitly on this page. q q Many stroke types have additional settings. don't forget to use The Gyro! . Your task. press xx. If you select a stroke type (especially a specialized one). No. This will reset most of ZBrush to be very close to its factory configuration. quit ZBrush. should you choose to accept it. and restart. check the Stroke Palette to see if any additional settings show up. 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 q q q Remember that many brushes need something to paint on. 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. Privacy policy About ZBrushInfo Disclaimers . This page has been accessed 47 times.zbrush.info/docs/index. There are some neat stroke types we didn't talk about. before they can paint. 29 June 2007. one defines what will show up in a paint stroke. the other defines what parts of the pattern will show up. Retrieved from "http://www. The Deco Brush texture defaults to a nice rainbow-type spectrum.php/Crossing_The_Great_Divide" q q q q q This page was last modified 20:22. Alphas and textures can work together.

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

but there's still a lot I won't go into.3 Creating a Rough Shape from the Stick Figure Introduction This Project is going to guide you step by step. and to allow you to create a whole scene with Zbrush 3 from scratch. and Navigation in Zbrush r 2. texture and finally render it.3 Basics: Hiding and Revealing r 2.2 Polygroups Visibility r 3. and lighting. This is an extensive tutorial.by Francois Rimasson Contents q q q 1 Introduction 2 About Zbrush r 2.1 Polygroups r 3. and so on. but a canvas. . About Zbrush Zbrush is different from other 3D and painting programs. and 3D modeling software. you don't have a 3D workspace. When doing pure 3D modeling.2 Basics: Sculpting r 2. Editing.1 Basics: Tools. The canvas can be painted on. you simply manipulate the model with a (usually) blank canvas as the background. It's a mix between 2D painting. to sculpt. with good rendering capacities.4 Basics: Masking 3 Using Z-Spheres To Create a Stick Figure r 3. will all work to produce an illustration with true 3D appearance. In ZBrush. such as interface configuration or ZScripts. and can also be sculpted in and out (like a bas-relief carving. rendering. but with much greater depth). Your model can then easily be incorporated into a previously painted scene.

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

php/Tutorial:_Birth_2" q q q q q This page was last modified 22:39. This page has been accessed 8. then. Privacy policy About ZBrushInfo Disclaimers . activate the Lazy Mouse Mode.Begin by shaping and add volume to the hair using the Tweak and the Clay Edit Brushes. Retrieved from "http://www.info/docs/index.zbrush. 22 May 2007.578 times. switch to the Standard Edit brush to add details to the hair.

1 Setting up a Standard Shader r 1. Shading. Creating a Figure with ZSpheres. you will need to create a nice shader that mimic skins. It can be created in two different ways: By using a Ball picture rendered in a 3d application. Contents q q q q q q q 1 Shading and Rendering r 1. a new way to shade your models 2 The Eye r 2. 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.2 Positioning the Eyeballs r 2. Rendering. Setting up a Standard Shader .1 Creating an Alpha From a Photo r 5.1 Texturing the Eyeball r 2. Part 2: Sculpting and Posing. and Compositing.2 MatCap. in order to have a better feedback. or from within Zbrush. to avoid long load times for your browser. a Matcap material. you'll use a new type of ZBrush 3 material. with a Subsurface Scattering look.3 Adding Eyelashes 3 Painting the model 4 Creating the Set 5 HD Sculpting and Painting r 5.1 Rendering the Shadows 7 Compositing and Final Touches Shading and Rendering Before texturing the model.Tutorial: Birth 3 From ZBrushInfo This tutorial has been split into several parts. Texturing. They are: q q q Part 1: Introduction.2 Creating an Alpha Manually and Using It With the Edit Brush 6 Creating the Illustration r 6. For that purpose. Part 3: Details.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Open the Layer menu and create a new layer. The whole model is displayed in HD.In ZAppLink. and press the Sculpt HD button. and recall it's stored position using the Zapplink Palette. 5. in the Render menu. 7. open the Geometry HD subpalette. set the Flatten option Off. store the position of the tool on the Custom 1 view.Switch on the visibility of all the subtools. 3. Draw your model on this new layer. Open the Transform Palette. Now.Select the Set subtool. 6. 4.2. which is the bigger one. and Snapshot the tool on the layer. .

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

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

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

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

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 .

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

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

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

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

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

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

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

To do so. and now we are ready to export our low res cage to 3D Studio Max® to refine it. . we can just click on Tool:Export and choose where we will save the obj file. 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. so we click on it and it will replace the ZSpheres model by the new one. By default this new model has two levels of division so we will press Shift+d to go to the lowest level.Finally.

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

Press t to go back to 3D edit mode and we are ready to sculpt. 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.Back in Zbrush we press t to deactivate 3D edit mode and then press Layer:Clear to clear the canvas. Clearing the canvas simply gets rid of the image of the model that printed to the canvas when we left 3D edit mode. . 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. and then with that model selected. ZBrush will try to import the external model 'over top of' the selected one. Leaving 3D edit mode is needed because if we try to import an external model while a model is already active.

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

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. . paying special attention to raising the shoulders and starting on the proportions and shapes.

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

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

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

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

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

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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. press Ctrl+d again. Keep using the Standard and Smooth brushes to give shape and sculpt the body. we are not using the preview renderer but the fast renderer.

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

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

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

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

. 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. and by using the usual brushes we will start shaping the face.Earlier we started shaping the eyes and nose a bit.

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

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.Keep modeling the face.

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

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

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

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

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

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

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

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

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

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

and we can move the new boot by clicking and dragging inside the middle circle of the transpose line. So.and then add this new boot to the girl model using Tool:SubTool:Append. 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. .

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.Now we want to mirror it. Notice how the slider for the levels is back to 7 levels. Then. . click on the Del Lower button that is just under the Sdiv slider. we can then move it to where we want it. 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. by going to Tool:Geometry:SDiv and moving the slider to the right until we reach the 7th level. This will delete the lower levels on the boot. Now we need to recreate the lower subdivision levels that we just deleted.

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

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

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

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

then press Tool:Texture:AUVTiles. so go to the lowest level of division to create some UV maps for the mode. 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. we'll paint the entire model until we get something similar to what is shown: We are ready to export our model. colur and displacement map to 3dsmax. Now we can create the color map by clicking on Tool:Texture:Color to Texture . We'll first export the color map.

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

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

very accurate. in this way I make sure that the displacement map is going to be very. We will go to the fifth level of division. first saving our . so we choose one of them from the subtool palette and set it to subdivision level 6. 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. The next task is exporting the Boots. we will find it in the alpha maps. and finally click on the Create DispMap button: Once the map is created. and then press Tool:Displacement and set the options as seen in the image. 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. Once we finish exporting the two boots we can go back to 3dsmax. Since we are not going to animate the model I will export a medium resolution version of the model.Next is the displacement map. select it.

Back to 3DS Max . 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.file in Zbrush.

modifier: . modifier. as seen in the image. Then go back to the original slot and drag and drop it to the Vray Disp. 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.Next thing is to load the color and the displacement map on the model. so I will use a Vray Disp. Notice that I'm using Vray as the render engine.

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

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

after some color tweaking from Photoshop®: . 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.

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

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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. Some of the new features in the Zbrush 3. 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.2 Sorting the Feathers r 4.3 Fluffing the Feathers Introduction Before getting started on this project. I tried to surround myself with as much reference and inspiration as I could before taking the plunge on the Zbrush canvas.1 Creating the Feathers r 4.0 have convinced me that this is as good a time as any to try. 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. .

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. If it isn’t.Once you establish the direction of the head. 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. Reselect the zsphere head tool. . On this occassion. reposition and press. then go to Tool:Subtool and Append the polysphere. I loaded up a polysphere which is now part of the selection choices in the library of tools. Checking reference for eye spacing and size is encouraged. Store. which will help establish a constant reference when I later sculpt around the eyes.

The more equidistant the spacing through the body. and the subtool eyes will be distinguished as simply ‘left eye’ and ‘right eye’. This would be a good time to label your subtools if you like. Select the zsphere head subtool and Append the clone of the polysphere. 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. You should now have a pair of eyes. This is essential to be able to mirror the polysphere copy on the x axis. 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. Retopologization I am definitely going to need to create new topology.Once the polysphere eye is in place and selected. the more consistent the detail sculpting will be across the bird. 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. I will refer to the main tool as ‘birdhead’. we can press Tool:Clone. . The next part is just shaping the bird’s form and just kind of sketching out the qualities of a raptor.

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

Next we’ll create new topology for the head of the bird. By no means is the new topology the best solution for the form. 3. To do this: 1. 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. Make an adaptive skin and Append it to bird tool. but it is certainly better than before. Press Tool:Rigging:Delete. 2. Unpress Tool:Topology:Edit Topology. When it came to the opening in the mesh up by the bird beak. . I needed to delete the rigging selection to gain access for closing the gap. Press Tool:Topology:Edit Topology and you can now reach geometry that was previously occluded by the rigging mesh.

I noticed that there was an auto fade that caused a loss of definition at the tips of the feathers. made sure the feather was aligned to the top and the essential details were kept in the center. Creating the Feathers When I started looking into the feather options. . I decided to increase the size of the alpha. After trying the first test alpha feather. I then start to make note of the feathering of these types of birds. an eagle. I then made a few more feather alphas for added variety so as not to have any major discernible repetition. The first alpha I tried. 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. I didn’t know if I would go with a stencil technique or use the sculpting brushes. Pressing Alpha:Flip H on any given alpha can also buy you one more alpha variant to break things up even more.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. 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 renamed one clone FeatherSet. we can always slide the layer slider back to 0 and start over. In this case. we’ll click Tool:Layer:New for both subtools. 7 was the highest used.01 and the other FeatherSet. Now clone the Birdhead subtool and Append it twice to the subtool list. Now set: q q q q Alpha = the feather alpha. with Zadd. As a little safety precaution for the FeatherSet subtools. Click and drag feathers in the direction they would flow on the actual bird.Return to the bird tool in Zbrush. and subdivide to level 6 or 7. . Brush:Std. Stroke:DragRect. Space them so that there is minimal overlap or at least little to no noticeable overlap of the feather details. 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.02. Now if anything should go astray. A morph target is also a good alternative if it’s not already being used. Z Intensity = 25.

Once the bottom feathers around the neck are placed in a fairly filled out fashion. When masking is complete. Work your way around until the bottom straight edge is masked. we can begin painting a mask on the undisplaced geometry.01 remains visible. top.01 subtool until they appear to overlap (or underlap) the feathers of FeatherSet. and back views.01 subtool a good first pass. Don’t forget to horizontally flip your alphas if the bow of the feather needs to run the other way. When you have given the FeatherSet. However. select and turn on the visibilty of FeatherSet. . Due to the nature of the auto fade of the sculpting brush alphas. when feathering the front.02 while FeatherSet. Adjust the Z intensity of the standard brush to 28 now and draw a new set of feathers through the FeatherSet. the displacement intensity of the outer edge is less than the center.01. press Tool:Masking:Inverse followed by pressing Tool:Masking:HidePT. You may find you can get away with applying these feathers with Transform:>x< on to activate x axis symmetry. Begin with either feather subtool while the unselected subtool is hidden. This makes it possible to slide the top of the feathers under existing feathers. it will become apparent when to turn off the symmetry and go freestyle.Cycle through your feather alpha collection finding the best alpha with a curve in the feather that compliments the form of the bird.

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

To lift the middle feather out of the other. If you look closely. As we build up strokes over the feather. I accidentally pulled too much of the underlying surface through the inactive subtool. leaving the feather’s detail. Tool:Morph Target:StoreMT. you can see it gradually lift out from the bunch. Alpha = Alpha00. 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. . Stroke:Dots. we’ll set: q q q q Brush:Elastic. Z Intensity = 15 with Zadd on.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.

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

Now under Tool:Layer move the layer slider back to 0. Lastly. move the Thick slider down 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 . Press Make 3D. go to E Smth and S Smth and slide both down to 1.

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

use the Elastic brush like mentioned above or even try the Tweak brush to correct aggressive clipping. 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. If there are still sorting issues with the feathers. . Clear the mask when done and select a new feather to begin the adjusting process. When you have all the feathers positioned.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. turn on all essential subtools for evaluation.

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

SubTool Hair Sculpting Tutorial From ZBrushInfo by Joe Lee The following are some of my observations while learning the new features in Zbrush. I settled on the Sphereinder3D tool. Blocking It In The goal was to add hair to a preexisting head. 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. which has been a resident in the ZBrush tool library since I can remember. . In the Deformation section. 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. In the Preview window you will see what will be the front of the head. to 45. I set Rotate with only z highlighted. Looking for a suitable base form for the hair. Going to Tool:Initialize.

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

You want to do this before dividing. I pulled on it with the Snakehook brush and a Dots stroke.Now on to shaping the hair. The Nudge brush also speeds this process up as well. you would notice some streching from the rest of the hair base. 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. Use the Smooth brush from the dense mesh area to the sparse mesh area and you will see it average out more cleanly. 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.

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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’s up to you. . I went down to Rigging where I pressed Select to choose the hair base ztool I just finished working on. You may need to toggle on/off the visibilty of the head subtool to get the look you want. After selecting the Zsphere tool. But at some point you may want to make a polymesh 3D tool out of it. For this I used the new Convert To Main feature that has been added to the Zsphere tool.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. If you plan on going with mesh projection later on. it may not be necessary as you will most likely retopologize. If you get to a point to where you are starting to like your results then save everything. I kept my hair base a primitive 3D tool until near the end after I divided it several times. 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.

. When finished with a strand.Go to Topology and press Edit Topology. 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. You can now click across the hair base where you want the strands to flow.

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

. 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.

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

I hope this walk through will help give insight to some of the new features in the latest version of Zbrush. On that note. step 4 works best if the model is not moved at all since step 2. 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).Steps 1 and 3 are tool preparation steps. Please post any insights or improvements you may have found as I too am still learning. Step 2 works best if applied in a single stroke. Good luck with your future creations! .

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

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. ZBrush 3's PolySphere was offset before release. Click here for a polygonal sphere with its center at the origin. We will use: q q q SubTools Transparency Masks . 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.

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

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

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

Rotate the model to the side view by clicking outside the model and dragging to the left. Effectively. . Move the edge of the model in to align with the image. While dragging you can press SHIFT to lock the model to a side view. by assigning a material of 00 to an object it assigns no material to the object. Sculpting Click here to download the movie.Wax. Select the Tweak Brush from the Brush 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.

. 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. Focus mostly on the contour. If your image comes from photographs. Don't get into the interior forms yet.Turn to the front view and press Draw:Perspective. simply adjust your Draw: Focal Length to the level that works for you. Still using the Tweak brush sculpt the Front view.

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. 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. We will slowly make it more and more 'realized'. .

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. 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. In the video we use masks.At about this point. (Quicktime required). Modeling With Your Texture by Ryan Kingslien (Quicktime required).

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

The RakeSmooth brush is great for smoothing forms together and really getting in and developing the details of a model. 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. Here we use the Ramtool brush preset.RakeSmooth brush is a a preset of several settings: The Clay brush. This is another RapidBrush macro. . Freehand stroke and others. a custom alpha.

We could now go further and create more specific form such as the teeth. 4 June 2007. Retrieved from "http://www. The major forms are outlined. This page has been accessed 23. .209 times.zbrush.info/docs/index.php/Sculpting_A_Skull_With_Image_Planes" q q This page was last modified 19:05. We have refined the form and made the nasal area more clear.Going back to the RakeSmooth tool we further develop the skull. Our final image shows the development we have done to date.

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originally created in the ZBrushCentral forum thread http://www. 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.php?t=44876. Consider the following usage scenario: .Topology and Reflow Lab From ZBrushInfo by Plakkie This is a user-created and user-maintained tutorial. You'll find additional information there.com/zbc/showthread.

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

so that the model which will be generated is projected on the Template. 7. Clone your model. it doesn't work! The original model can have as many subdiv levels as you like) 5. Load the model you want to edit Select a new ZSphere tool. 6.q q q q q To deselect a point: LMB-click outside your model. — Thomas Mahler Editing existing topology 1. select the cloned model. select the original model. 4. 3. 2. To scale points: go to Scale mode. In the Tool:Topology subpalette. Enter the Edit Topology Mode. Chances are you have accidently masked them (you can't see this). (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. (If you don't. . In the Tool:Rigging subpalette. Make sure that the subdiv level of the cloned model is at 1 or 2. All the lines will show up. To move points: go from Draw mode to Move mode. Note: Sometimes certain points won't move at all. and activate (optional) the Projection Mode. To move more points together: increase the draw size. Unmasking the points makes them move again.

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

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

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

set Tool: Adaptive Skin: Density to 1 and Tool: Topology: Subdiv to 1. When you project your old details onto your new mesh. as demonstrated by Bisenberger. and work further. I think Mbr defaults to 2 instead. changed the Mbr setting to 0 and made a new adaptive skin. Is there a way to transfer the high sub details to the new mesh? Yes! Turn on the 'projection button' in Tool:Rigging..5? (Plakkie) Q. (Mouse_art) Q. I figured that out the first time I created a skin from my retopo rig. after reloading the ZTool. you can press Shift and draw on the model to automatically draw topology lines from the existing topology. 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. At the moment it seems like that's inevitable. and then save the active ZTool. (Poda) While Edit Topology is on. (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. Is there a way to convert the original topology of a model into a Topo-ZSphere structure. (Ladysoul) Q. Is there a way to save a topology rig in progress? Just Deactivate the Edit Topology Button. 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. So I deleted it. just activate the Edit Topology Button again. 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? . Something for ZBrush 3.Q. The weird part was that I could not get Reconstruct Subdiv to work on the skin. 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 I don't know why. [more a statement really ] You masked them by accident. polypainting stores the color information directly 'in' the geometry.If I understand correctly. Q. i tried to create a new topology as described on the wiki. ? Maybe some day. I think i tried Ctrl+LMB clicking directly on the edge and something bad happened. The mesh/tool was created in ZBrush 2. I'd rather have metablobs I can retopo (like Blender). 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. Lvl 1 didn't work and gave those strange holes. Are there some functions like "edge loop". Before hitting the button the skin was ok! Does anyone know why this happens and how I can fix this? Solved this problem.. (Crusoe the Painter) Q. yet. Q. The edge gets deleted in the process. This seems to work fine but I would love to have a simpler. Press Tool: Masking: Clear to unmask your mesh. Those tools would really help with retopoing zsphere armatures. Q. Appending the new topology to the old topology as a SubTool will allow you to use the ZProject brush to do this. When I hit the "edit Topology" button... (Train22) . i got a skin with lots of holes in it. couldn't move them at all. by taking the topology of Subdivision lvl 2 of the Mesh. Those things are still causing problems. but not now. I don't know about texture maps. I think it's a good idea to do the texture/paint part after you have made the new topology. "making strip" "split". After working a little bit with the new topology tools. and thus your polypainted info doesn't apply on the new model. When shifting topology vertices away from the mesh some of them seem locked. With the topology tool you are making new geometry. Hit it twice if it doesn't go off at first. faster way. than trying to use Adaptive skin with ZSpheres to get a clean mesh.. "edge ring". Anyone had different experiences? (Plakkie) You can use the ZProject brush to transfer details from one SubTool to another.

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

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

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

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

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

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

(See MatCap Basics for a fuller explanation of sampling points. and interactively shows the effect of your sample as you position the normal. and MatCap B is the shader we'll create a bit later that Zbrush will user when rendering cavity effects. and they will all work and blend together nicely). Making sure the Tool:MatCap tool is still selected. MatCap A is the color information. and cavity areas of the image. As you make more and more markers on all visible angles on your image.The lightball in the center of the main skull image appears when you are sampling.) . 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. you will do many samples. We'll first sample the only pure color information in the photo. specular. you will see the temporary shader ball become closer and closer to the photograph. left click on a point the background image and drag the mouse around to define a surface normal. 5. We'll actually end up creating two shaders in the material--MatCap A and MatCap B. Avoid shadow.

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

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

This page has been accessed 11.298 times.info/docs/index.php/Tutorial:_MatCap_Skull" q q q q q This page was last modified 20:49.Retrieved from "http://www. 23 May 2007. Privacy policy About ZBrushInfo Disclaimers .zbrush.

ZBrush 2 has introduced many enhancements to be more intuitive and faster than ever to use.1 Palette Controls 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. Contents q q q q q q q 1 ZBrush Modes 2 The ZBrush2 Window 3 Palette Basics r 3.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.2 Curve Tutorial ZBrush Modes While not really part of the ZBrush interface.1 Curve Quick Reference r 7. The ZBrush2 Window .

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

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

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

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

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

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

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

defining the falloff of the sculpting tool. They can be found in nearly every part of the ZBrush interface: material modifiers. 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. 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.

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

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

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

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

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

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

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

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

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

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

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

5D painting techniques to work. we learned the basic principles behind 2.Tutorial: Rusted Golden Idol From ZBrushInfo In this section we’ll put the theory behind ZBrush’s 2.5D painting. Now we’ll apply those principles to create a simple but fun project. 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 . In the last section.

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

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

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

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

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

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

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

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

q Select the Plane3D tool. q Select the Flat Color material. . q Select alpha 27 and the Simple Brush.layer and a 3D object. q Draw the plane on the canvas and use the gyro to scale it to fill the screen. we have chosen to paint the shadow manually in order to illustrate other ZBrush features. While ZMode shadows with good Rays and Aperture settings will produce an excellent shadow. and so will not receive shadows from it. move it back behind the idol. Also. 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 Rotate the alpha by pressing the Alpha:Rotate button. . q Select the Drag Rectangle stroke type. and paint a stroke on the canvas so that the gradient fills it completely. This stroke will allow us to paint a single instance of the alpha. q Choose a darker color. turn off Zadd.

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

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

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

. and given about 50% noise. 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.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.

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

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

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

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

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

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

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

.q Modify the material properties.

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

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

with a few ladybugs thrown in. 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.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 . written in bamboo on a grassy background.

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

yet still render in real time! This is because only one object ever exists as polygons at a time.) In this section.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. 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. (Both are available for polymeshes. Ultimately. 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. but the more specialized selection functions that we’ll make heavy use of here are only available for primitives. a scene could be composed of millions or even billions of polygons.

the possibilities inherent in this system by creating several complex objects. 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. Draw it on the canvas and enter Edit mode by pressing T.1 In Conclusion Plastic Pipe q Select the Cylinder3D tool. 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. set X Size and Y Size to 20. . q In the Tool:Initialize menu.

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

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

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

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

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

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

Press Row. we’re going to start with the Cube3D primitive. Bolt q q For this one. though. . The cube can actually become a cylinder with enough sides! It has slightly different parameters than the Cylinder3D. HDivide to 30 and VDivide to 45. In the Initialize menu. 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.As you can see. which is why we’re using it for this example. q In the Masking menu. set X Size and Y Size to 20. Set Sides Count to 6. MaskAll and then set Sel to 32.

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

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

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

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

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

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

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

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

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

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

1 Draw the New Mesh on the Canvas r 2.4 Changing Crease Sharpness 3 In Conclusion .1 Create a Polymesh Circle r 1. then modify the subdivision smoothing via ZBrush 2’s Crease feature.2 Create the Z Shape r 1.3 Add Edge Creasing r 2.3 Create the Z Polymesh 2 Smooth and Crease the Z r 2.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. Contents q q q 1 Creating the Z r 1.2 Subdivide the Z r 2.

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

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

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

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

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

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

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

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

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

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

2 Set Up the Model s 3.1 Restoring the Shape of the Original Model s 3.2 Assign UV Coordinate r 3.2 Adding Polygons r 1. demonstrating the Crisp function.2.5 In Conclusion Edge Loop Modeling In this section.4 In Conclusion 2 Adding Details with Projection Master 3 Displacemant and Normal Maps r 3.3 Making Edges Sharper r 1.1 General Information r 3.4 Applying a Displacement Map in ZBrush r 3. we’ll cover basic Edge Loop functionality.2.3 Create A Displacement Map r 3.1 Mesh Visibility Refresher r 1. .Tutorial: Modeling a Telephone From ZBrushInfo Contents q q q 1 Edge Loop Modeling r 1.

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

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

.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. the box turns red.

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

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

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

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

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

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

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

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

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

the level is replaced by the original geometry. you would simply press the Switch button to return to . While at subdivision level 1.By loading the original model back into subdivision level 1. The third option requires some pre-planning. you would press Tool:Morph Target:StoreMT. Now when you wish to reuse that geometry. before beginning the high resolution modelling. 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.

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

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

press Alpha:Make Tx. In order for a displacement map to be viewed in ZBrush. The new texture will automatically be applied to the model. and so prefer to only keep the low resolution versions of your models. 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. If ZBrush 2 can work with extremely dense models. Along the same lines. but sometimes it’s nice to see. ZBrush provides an easy way to use displacement maps. Maybe you are importing a displacement-mapped model from another program for use in a ZBrush scene. 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.q Export the alpha.” . Or maybe you simply wish to conserve disk space. 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. there are a few reasons. with their displacement maps. the model must have a texture assigned to it. q Press Texture:Clear. you might have a friend who wishes to share his model with you. Whatever your reasons. why would you wish to use displacement maps? Well. There’s not really a need to do this.

In other programs. We need to simulate that effect. The cage object would then appear to have more polygons than it really does. . q Make sure that the displacement map is the current alpha. The model is now comprised of 4096 polygons. which is probably equal to what an animation package would use. 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. q Turn off Quick 3D Edit.q Press Tool:Geometry:Del Higher. you’d use this model as a subdivision surface.

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

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

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

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

q q About ZBrushInfo Disclaimers .

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

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

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

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.

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

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

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

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

q q In Tool palette. Dividing also adds a new subdivision level in the top section of the Geometry menu. More polygons make it possible for finer details to be added to the mesh. Dividing the mesh quadruples the number of polygons. click on Geometry to open the Geometry menu. Press Divide. . 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. q Select the Intensity Metal material. You can then use the Lower Res button to temporarily decrease the number of polygons and Higher Res to increase it again.

. q q q Select Transform:InflatDot Set the Draw Size to 10. You can create your own material by changing the modifiers. Drag the raised dot to where you want it. then release the mouse. but for this tutorial the standard Intensity Metal is perfect. 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).

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

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

lighting and rendering. .5D painting tools. which can be used for texturing or for export to other applications. Using this utility. we’ll add more details in a different way: using Projection Master.ztl and draw it on the screen. using any or all of ZBrush’s 2. load ArmorPart2b. you can literally paint details onto the model. 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. UV mapping will also be assigned to the model.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. 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. These techniques allow us to sculpt the figure in a very intuitive way. In the next section. working with the model as if it’s made of clay. q If it is not already active on the screen. We’ll also cover the subjects of texturing. In part 2 we saw how to create the base mesh for the armor through modelling.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The mesh now looks much more like a face. q Make an Adaptive Skin. This can be resolved by changing the Ires setting from its default of 6. . 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. q Set Ires to 1. and draw it on the canvas.The problem here is caused by the fact that ZSpheres are treated as cubes for skinning purposes. However.

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

Ultimately. Other artists prefer to jump to a high level and sculpt. we divided the mesh once. the mesh resolution has been increased. 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.Notice that for step 6. q Continue to refine the face. . you should try both approaches and decide which works best for you. For this step. There is no “right” or “wrong” way. From this point on. different artists have different preferences.

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

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

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

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

Even so. there is only so far that the material will take you. For more detail. 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. it is necessary to paint a texture. .As you can see.

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

etc. 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. blending it together as you go. draw size. q Turn off Zadd. RGB Intensity.The nice thing about the Spray stroke is that it has a random quality that is very suitable to texturing natural objects. Vary your colors. q When ready. alone. since they allow you to build color up gradually. use Projection Master to pick up the model and rotate it to a new angle. 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. This process of dropping and picking will quickly become second nature to you. and activate Rgb instead of Mrgb. rotate it to a new angle. Here is our texturing in progress: . No depth or materials will be added while we work. This allows us to paint with color. Low Rgb Intensity settings are essential for realistic texturing. it is best to repeatedly pick up the model.

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

you should save your material by pressing Material:Save. In Conclusion Using ZSpheres.zmt. This mesh can then easily be modified by using the many sculpting brushes available from the Transform palette. In addition. When modeling is finished.q q Save this head as Head. a very basic mesh complete with edge loops can quickly be blocked out. a complex material can be built by combining .ztl. say yes. 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.

What’s more. You could actually build scenes with figures totally billions of polygons.elements from other materials. If all four of them were active in a scene at the same time. 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. you actually only have one that exists as polygons at any given moment. . 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. This feature of ZBrush has several strengths. which will be finished and rendered. First. we at this point have four very “heavy” pieces in terms of polygons. your system might very well begin slowing down. But since ZBrush makes it possible to snapshot each piece to the canvas. 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. Projection Master then provides an easy way to paint textures directly onto the model without the need to compensate for UV mapping distortions. yet never sacrifice real-time interactivity. ZBrush offers several UV mapping methods including the new GUVTiles.

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

then return to actual size when you wish to add detail. Move. and depending on your display resolution. Load ArmorPart1.q Click Resize Your document is now probably too large to fit within the viewable area. 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 entire canvas could well be visible again. The Half-Sized antialiased view is now active. Draw the model on the canvas. q Using the Tool palette. scale and rotate it into the position shown. as you can zoom out to get a full view when you need it (such as when blocking out the scene). 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.

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

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

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

Snapshot lets us create an instance of the object without having to turn off the gyro and draw a second copy. Create a new layer. q Use Scale to enlarge the background so that it fills the canvas. Layers are far more than an organizational tool! q q q q For the background. Also. This means that both eyes will be the same size. one with the head. we will be able to paint on the eyes or armor without worrying about affecting the head in any way. There are several advantages to placing intersecting elements on their own layers. We now have one layer with armor. 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. and one with the eyes. select the Plane3D. . Draw the plane on the canvas and use the gyro to move it into a background position. For example. Select the Basic Material.

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

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

q Snapshot the arm. Now that the scene is blocked out. 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. it’s time to bring it to life. You may find that the second arm becomes partly submerged in the background layer. . and stroke types to paint character onto the head and armor. q Use the various paint tools. then move and rotate the second one into place. alphas.

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

info/docs/index. Privacy policy About ZBrushInfo Disclaimers .php/Tutorial:_Warrior_Image" q q q q q This page was last modified 19:41.In Conclusion ZBrush is really powerful when editing your image to get the best effects using a combination of 2D tools.5D tools and 3D tools in one integrated environment. Retrieved from "http://www. This page has been accessed 3. 8 August 2006.580 times.zbrush. 2. 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.

.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.1 Light 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 3.2 Material Settings r 3.

It is assumed you have a basic understanding of ZBrush and its features. In Part 1 of this tutorial we shall use ZBrush box modeling techniques to build and define a low-density mesh. Part 3 of the tutorial will cover texturing. but ZBrush offers its own unique base modeling methods which greatly simplify the Box Modeling technique. painting. If you have not done so.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. 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. The two alphas that are used in this tutorial are available in the Image:Lizard Files. . rendering and post work.” A simple cube is taken and formed into a basic shape to which additional detail and form is added.0. 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. A common method in the 3D world for building models is called “Box Modeling.zip file. Part 2 of the tutorial will explore refining and detailing the model using new techniques and features found in ZBrush 2 . This can be done in ZBrush 2 now as well.

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.During the course of the tutorial I work in a document size of 1280 x 960. You will notice as you create the object that the spheres are different from earlier versions of ZBrush. The benefits of this feature become more evident when dealing with larger ZSphere objects containing hundreds of branching sphere chains. At the end of each of the steps of the tutorial I highly advise you to save your tool. The spheres are two-toned and you will see triangular vectors within it. The triangular vector inside the spheres indicates the child/parent relationship of the currently selected sphere. Save your tool and save often! Now without further ado let us begin our journey. 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). .

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.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. Enter Polyframe mode. . We will be working in this mode through the rest of this chapter. You should see two red dots appear in symmetrical relation to one another on the model. 1) : The default polygroups generated. Move the vertices around until you are satisfied. 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. Make sure you are in X-Symmetry mode when doing this by pressing the X key on the keyboard. 3): The blue polygroup is selected and the remaining mesh is hidden. It is possible that your base mesh may not look like the image on the right. This is not entirely necessary in this tutorial. 2): Select the blue polygroups (your actual colors may differ). q You may find it necessary to tweak the model a bit by entering EDIT:MOVE and moving the vertices around.

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

. This is a handy feature but can be a bit tricky to get accustomed to at first. This indicates that any selection made with the red selection mode enabled will remove polygons from the currently selected group. Then press CTRL+SHIFT and begin dragging the selection box across the top polygons. Release both CTRL and SHIFT but continue to drag the selection box.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. q q Rotate the rows of polygons while holding the SHIFT key so that they snap into a top view. To do this we will use the constrained HIDE SELECTION feature. 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.

.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. 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.

This time move the vertices inward to create depth.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. Create another Edge loop and move the vertices once again. 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. It is important to cut in all the edge loops that we need at this stage. 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.

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

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.

Next we shall create the top ridge of plates that run along the top of the head. q Make sure to move the vertices on the outer edge out closer to those edges. 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. It should look similar to the image at the right. Now we are ready to move on to making the actual ridges. 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. q To do this we first select the polygons that will become the tops of the ridges. To create the ridge polygons on the back of the head we will use edge loops to extrude and make new polygons for us. . Next you will create an Edge loop.

Make sure to select it on both sides of the head and be certain you are in symmetry mode. q Select the polygon that is about midway between the jaw and the base of the neck. 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. New polygons will be created between the original position and the new position of the vertices. Next click on the EDGE LOOP button. q q q Create an Edge loop around these selected polygons. Then select the inside polygon and using EDIT:MOVE move the vertices out and away from the head. 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. The last step would be to move any vertices around that might need tweaking to get the final form.

move the vertices up and outward away from their original position. Creating the neck plate at the base of the neck involves the same Edge loop extrusion process. . q Finish off by moving the vertices to give the horns final shape.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. q q Select the last two rings of polys on the base of the neck. Using Edit:MOVE.

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

The final model should look similar to the image depicted below.q Next simply press the Crease button located in TOOL:GEOMETRY menu. these edges will remain weighted or crisp and will not be smoothed. Experiment and have fun. The CreaseLvl setting next to the Crease button tells ZBrush how long the crease will be propagated when subdividing. 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. Crease is a very powerful tool that can aid you in both organic and mechanical modeling. When subdivided. . If you feel confident enough about the tools I encourage you to experiment and make alterations. 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.

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

or even flattening the surface of an area. You can also store a morph target and then use the Morph brush to revert to the stored geometry. Generally a Zadd setting of around 8 to 12 will suffice. 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. 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. You can clean up afterwards if need be with the Smooth Brush. . This edit feature is ideal for fixing mistakes. 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. During this “roughing out” phase I like to use several TRANSFORM:EDIT BRUSHES . I switch back and forth on brush sizes large sizes to cover large areas and small sizes to do finer edge work. Move the polygons around the eye area to create a round socket. My particular favorites at this stage of the modeling are Standard and Inflate .This should place the mesh at three subdivision levels. After you have worked over the model use Edit:Move to move large areas like the neck flab into a more natural-looking state. These can be found in the Transform palette. smoothing rough spots.

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. Set ZAdd to 50 and set the brush size to about 8 or 10. q q We need to tighten up a few lines so let’s use the Pinch Brush. This in effect hides the area you selected first and reveals the areas that were hidden. 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. This will mask the visible area.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 q CTRL+LMB CLICK anywhere within the document window but not on the model itself. 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. .

teeth. lips. . Use the Smooth Brush to smooth out areas that get a little rough and continue.q Use it on the line between the lips and also near the base of the horns where the horn meets flesh. 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. q First Divide the mesh two more times. especially around the edges of the teeth. Let’s add a little more detail around the mouth. You should be at five subdivision levels now. 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. I often use Pinch on eyelids. and around the nostrils. Use Inflate Brush and Pinch Brush to punch the details. It is also a very handy tool for making scars.

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

hiding all but the area that you wish to work on. q q Rotate the model so it is in a side viewing position. Be warned. Activate Projection Master. and then returning to your highest level. .I used the Standard Dot Brush with a high setting to create the little horns near the mouth opening. q Divide the mesh two more times.5 million polygons. This should put it at seven subdivision levels. Now it is time to roll out the big guns and get Projection Master cranking. If your system has limited resources you may want to limit the subdivision to 6 levels instead of 7. Remember that you can speed up interaction with a high polygon mesh by going to a lower subdivision level before rotating it. at this level the mesh will most probably be around 1.

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. Deformation. . q Use small values of Zsub and Zadd. 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. You are now ready to begin displacement painting. and Normalized are all marked. I generally use a setting of 1 or 2.q q Turn off Colors and make sure Double Sided. Click the Drop Now button. Fade.

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. 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.You should not at this time have any other Drawing features enabled such as RGB or Material . q I used the Single Layer brush with ZAdd and DragRect stroke to lay in the scales. activate Projection Master again and click on the Pickup Now button. The Resources\Sargent folder contains the two alphas that were used.

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

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

Click on Best render to generate the rendered image. press Texture:Grab Doc. . Go to the Texture palette and select the newly created texture. Click on the Invert button to invert the texture.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. Once it is rendered.q q q Fog enabled with Intensity 100 and Depth 2 of . In the Render:Fog menu click on Fog Alpha and select the fog texture we created.

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

13 August 2006.info/docs/index. Retrieved from "http://www.0 . There are numerous other techniques that can be used to accomplish the same results we arrived at here. Privacy policy About ZBrushInfo Disclaimers . You will be surprised at just how many ways there are to skin the proverbial cat within ZBrush 2.327 times.This tutorial has touched upon several key elements used when working with ZBrush 2. I encourage you to play and have fun with all the various tools.0 .zbrush.php/Tutorial:_Dragon_Lizard" q q q q q This page was last modified 23:15. This page has been accessed 4.