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),

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

3 Phone Activation r 2.2.1 Individual License s 2.6.exe.11 Selling Your License r 2.9 Recovering From a System Crash r 2.6 Activating ZBrush s 2.3 Upgrade From ZBrush 2 r 2.1 About Licensing r 2.3 Check-in a license s 2.6.2 Personalizing Your ZBrush s 2.1.6.5 Windows Vista Notes r 2.Installation From ZBrushInfo Contents q q 1 Installation r 1.6. .6.10 Lost Serial Numbers r 2.12 Other Questions Installation Installation is fast and easy.2.2 Volume License s 2.7 Online Activation – The Portable Licensing Solution r 2.1 Online Activation s 2.2 Installation Errors 2 Licensing r 2.1.8 Upgrading Computers r 2.6. Simply double-click the ZBrush3_Setup.1 Windows Vista: Important Notice r 1.2 License Types s 2.4 Installing ZBrush in a Network Environment r 2.2 Email Activation s 2.2.3 Educational r 2.1 Activation s 2.1.

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

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

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

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

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

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

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

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

Phone activation requires all three of the following: .

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

For example: You have installed ZBrush on two computers. Do not give it to anyone else to use. Upgrading Computers Pixologic understands that you’re likely to upgrade to a new computer at some point during the life of ZBrush 3.com to have one sent to you. Activate ZBrush 3 using your serial number. and one was activated by telephone. On your new computer: 1. One computer was activated online. Uninstall ZBrush using Add/Remove Programs in the Control Panel 3. To install ZBrush on a third computer and use it as a portable license. ZBrush will notify you that the license has been returned to the server. . 1. Be careful to remove all important data from your old computer! Remember to protect your ZBrush 3 serial number. Please note that this requires online activation. you can take your copy of ZBrush where ever you go. you must deactivate the license from the computer that had been activated online. Using this system. 2. 6. and will then quit. If you need a new download link.5. Install ZBrush on another computer and activate it using the Online method. Copies that are activated by email or telephone cannot make use of this portable license system. Deactivate your license using ZPlugin:License:Deactivate License. It is very easy to do this. Install ZBrush. you must have activated the copy being checked-in online. While it is possible to have activated some of your computers using the telephone and email options. On your old computer: 1. 2. Very important: Your serial number is YOURS. You will then be able to use your serial number to activate ZBrush on a third machine using the online method. 2. contact support@pixologic.

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

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

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

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

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

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

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.

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

1. The image to the left shows you how ZBrush combines these attributes on the canvas for you. select the simple brush from the Tool palette. 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. 2. 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. Material and Depth information to render your canvas to screen for you. that MRGB is on. Make sure that Zadd is on. set our Draw Size 3. Then paint a stroke on the canvas. Lighting and Rendering . The real-time render engine combines the Pixols RGB.

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

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

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

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

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

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

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

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

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

Below we will explore the different ways to access Controls and use the Interface.3 Layouts 7 The Startup Document Interface .1 Saving the Default Configuration r 6. You can also use the Palette Reference guide to find each control within a specific palette. A pop-up help box will give you several paragraphs of information to help you learn.2 Subpalettes 3 Trays (Palette Docking) 4 Tools and Other Inventory Lists 5 Curves 6 Saving Configurations r 6. Contents q q q q q q q 1 Interface 2 Using Palettes r 2.1 Palette Controls r 2.2 Specialized Configurations r 6.Controls From ZBrushInfo To learn about Controls in ZBrush you can press and hold the CTRL key and hover over the interface item.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

4 Invert an Existing Mask r 2. masked areas show up as dark patches on the model.Masking From ZBrushInfo Contents q q q 1 Masks 2 Manipulating Masks r 2.1 Paint Masks: r 2.3 Lasso Parts of an Object to Mask r 2. Instead.2 Drag Rectangles Across Part of Your Object r 2. However. or fully masked. (See ZBrush Modes. Manipulating Masks This section addresses how you can create and manipulate masks directly on the screen. affect properties of masks and mask drawing. (The stroke must begin on or close to the model.6 Unmask an Area r 2. partially masked to some degree. painting.5 Blur a Mask r 2. Masked areas are not on/off.) By default. You can do the following. etc. Masks only apply when in 3D Edit mode. they can be unmasked. Paint Masks: You can paint masks on your object directly by holding down the Ctl key while painting on the model. The effect that operations such as sculpting have on masked areas of a model depends on the intensity of the mask at each point.7 Clear a Mask 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. 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. Also. etc. The following figure illustrates this: . the Tool:Masking submenu contains quite a few controls that can be used to generate masks automatically.

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

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

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

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

UV Groups UV Groups will create a new group for each UV section of the model that is in a unique UV region. 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.upper right shows what Auto Groups will do. 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. Group Visible Group Visible will group the entire visible part of the mesh. UV Groups are very important to Multi Displacement 3. Material Group Material Group will group the model based on shaders assigned in other 3D applications. 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 .

Press CTRL+SHIFT then click and drag outside of the mesh. In order for you to work with them and for them to be visible you must turn on Transform: Frame. Press CTRL+SHIFT and click outside of the mesh. q Show Only One Group 1.info/docs/index. q Select More Than One Group 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. Privacy policy About ZBrushInfo Disclaimers . 2. Working With Polygroups You work with Polygroups directly on the surface of your model.Mat before importing the mesh. 27 June 2007. 4.638 times. Press CTRL+SHIFT and click on the mesh where that group is. q Show All Groups 1. 3. Material Groups is very useful for transfering grouping information from other applications into ZBrush.zbrush.php/Polygroups" q q q q q This page was last modified 00:25. This page has been accessed 2. q Invert Your Current Group Selection 1.

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

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

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

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

You can use the same texture. Contents q 1 An In-Depth Look At Painting In ZBrush r 1.4 Painting With Your Sculpting Brushes s 1.5 Using a Texture Map to Paint with in ZBrush r 1.6 How Do I Work With A Texture Map in ZBrush? s 1.4.7 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.2 Baking PolyPainting into a Texture Map r 1.2 Control Your Brush Stroke r 1. PolyPainting . To learn more about using UVs with PolyPainting visit the Polypainting page. To learn more about Projection Master click here.1 Control the Shape of Your Brush with Alphas s 1.1 PolyPainting r 1.6. Congratulations! You have now completely textured a model.3 Set Up Your Model For PolyPainting r 1.If you wish to continue PolyPainting simply press Texture: Texture Off in the texture palette and continue painting. 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.1 Baking a Texture Map to PolyPainting s 1.2 Poly to Pixel Ratio r 1. If you do not have UVs you can create them inside of ZBrush by pressing Tool: Texture: AUV.4.6.

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

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

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

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

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. they do not share any connected polygon faces. .

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

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

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

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

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

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

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

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

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

With the basics of the shoulder-guard made in a matter of seconds. Draw:Z Intensity = 65. by creating a medallion. and press Tool:Layer:New.) Draw a stroke out from the center of the plane. This will create and make visible a single active layer. Draw:Focal Shift = -100.000 polygons. subdivided in this example to about 1. Start with a polymesh plane. .000. Mesh Extraction Using Layers Meshes are extracted from layers with the Tool:Layers:Make 3D button. the details can be sculpted on in just a few more minutes. Open the Tool: Layer menu. Alpha:Brush 52 (star medallion alpha) selected. Your mesh will be extracted wherever the base mesh and the selection differ. Set the following: {Ctl|Brush:Std}} selected. Let's take a look. (This prevents the sculpt from 'fading' as it goes from its center to its edge. Stroke: DragRect selected.

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

This page has been accessed 18. Privacy policy About ZBrushInfo Disclaimers . 20 June 2007.q q q q q This page was last modified 23:48.214 times.

scale.3 Transposing With Bones 6 Transpose Symmetry . Scale. drag the end of the action line that is not the shoulder to rotate the arm. you'd mask off everything but the arm. this allows you to easily pose your models. pose or deform your model. To rotate an arm downward using transpose. but transpose can do all of what could be done by those brushes. In ZBrush 2.1 Topological Masking 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.. and Rotate buttons control which of the associated transformations the transpose action line actually does.Transpose From ZBrushInfo Transpose is a new feature in ZBrush that allows you to quickly position. the Move. draw an action line from the shoulder to the elbow.1 Creating the Action Line r 1. or rotate the model or some part of the model. For instance. and quite a bit more. Contents q q q q q q 1 Understanding The Action Line r 1. In the Transform menu.2 Moving the Action Line r 1. and then with Transform:Rotate active. those modes functioned as brushes. An optional mask causes transpose actions to be done only on unmasked areas of the model. Amongst other things.2 Blurring Masks and Joint Rotations r 5. It uses three different elements: q q q An action line is used to move..

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

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

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

Clicking on the end points moves the model on a fulcrum. Click on the center dot to rotate the hand around the action line. . Draw another action line and move it inside of the wrist so that the hand will rotate from the center of the wrist. Clicking on the center point rotates the model around the axis of the action line.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. This allows for scaling and shearing. where the vertices of a model are moved relative to a coordinate origin defined by one end of the action line. q Ensure that Transform:Move is active before doing anything.

click and drag from inside an endpoint of the action line. The point underneath the click will be moved to follow the mouse. click and drag from inside the midpoint of the action line.q To move the entire object. . which produces a scaling or shearing effect. q To scale or shear the object. The other end will take the role of the origin of the coordinate system. 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. in the plane of the screen. Note: Shift-drag constrains the move to be along the action line.

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

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

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

and the non-masked area.q The mask will follow the line you drag out. . q When you release the mouse button. which allows you to easily widen out and smooth the area of partial masking between the fully masked part of a model. 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. the edge of the mask will be smoothed. 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. This is mask blurring.

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

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

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

php/Rigging" q q q q q This page was last modified 18:07. and a ZSphere above it for the ribcage. 5. Otherwise they can get caught up in the ZSpheres for the spine. If this step is not done or is undone you will not preview your high rez mesh. 3 January 2007. If the weighting is not right.e. For a typical humanoid. To have this happen every time you press A you have to sculpt some small brush strokes after you press Shift and click on the Preview button. your mesh returns to your bind pose.info/docs/index. it should be off) and try to reposition some of your ZSpheres. :div>:div> Retrieved from "http://www. Press Shift and click on the Tool:Adaptive Skin:Preview button. 4. unbind the mesh by pressing Bind again (it should not be orange after this.zbrush. When your skeleton is completed. Press Bind once you are ready to test the weighting again. 3. Set Tool:Adaptive Skin:Density to the same number as the maximum levels of resolution for the mesh you are posing. ZBrush is using an automatic weighting solution so check your mesh to see if it is weighted correctly. Pose your model using Rotate or Move. you will want a ZSphere below the root for the hip. i. This will preview your high rez mesh. This page has been accessed 4. Press A to preview your low-resolution mesh in that pose. Privacy policy About ZBrushInfo Disclaimers .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. Preview your high-rez details on a posed mesh: 1. press Bind. A few tips to keep in mind: q q q Arms should be around 45 degrees or more away from the body. 4. When you turn Bind off. Create your skeleton 2.397 times.

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

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

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

000 polygons. Sculpt this section of the mesh as normal. Then. This level of detail . A circular area around our model has been selected. The selected area of the model comprises about 10. hover our mouse over the area we want to sculpt and press the a key. Here is some quick sculpting on the 10 million polygon side of the elephant.000 polygons — the number is determined by MaxPolyPerMesh. We press. Tool:Geometry HD:DivideHD three times until it's divided to 44 million polygons. our elephant is subdivided to about 700.000.In this example.

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

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

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

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

5. 4. 11.zbrush. Select the old model you want to retopologize 5. From here you can add them to another model as a subtool. Press Tool:SubTool:Append and select the newly imported model that represents new topology 6. Retrieved from "http://www. This page has been accessed 19. Begin drawing new topology on your model. Make sure that the base ZSphere is selected or that the root of your ZSphere chain is connected to it. Make the new topology sculpt the active SubTools by selecting it in the SubTool area. Since the new topology is the active SubTool it will bring that in instead. Adjust Tool:Adaptive Skin:Rez to a higher leve to get more polygons on your new mesh.3. This is the tool with the geometry you want to change. Make sure they line up correctly 7.985 times. Press Ok to drop your model to canvas 2.info/docs/index. Press Topology:Edit Topology. Importing Topology From Outside of ZBrush You can also bring topology in as an OBJ. Press Layer:Clear to clear the document 3. 9. When you are done press Convert To Main and unpress Edit Topology.000 poly limit on the base mesh. . Press Tool:Adaptive Skin: Preview 17. Press Tool:Rigging:Select and select the design sculpt from the pop up window. 24 May 2007. Select a ZSphere and draw it on the canvas 8. The steps for this are below: 1. Press Tool:Import and select OBJ 4. Select the Simple Brush in the Tool palette to avoid ZBrush importing one model into another. 15. right now there is a 25. Press Topology:Select and select the previous tool. If you want to push or pull points you can clear the mask that is automatically created by pressing Tool:Masking:Clear. 13. Press Edit Topology 14.php/Topology" q q This page was last modified 22:58. Note. Press Tool:Rigging:Projection 16. Select the ZSphere you used earlier 12. In the Tool Palette select the model that has the design sculpt and new topology sculpt as SubTools of each other 10. Your topology lines will now be ZSpheres that you can edit and adjust.

q q q Privacy policy About ZBrushInfo Disclaimers .

2 How to Move Elements Around 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 5.1 Areas for Customization r 5.1 Setting Colors Affecting the Entire Interface r 3.3 Building User Menus About Interface Customization .

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

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

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

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

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

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

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

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

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

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

Retrieved from "http://www. and only shows those menus that were placed in the custom list. 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. 21 June 2007. which will be loaded every time you launch ZBrush.php/Interface_Customization" q q q q q This page was last modified 05:47. use Alt+Ctrl+Shift+I instead.info/docs/index. Once satisfied with your interface. This page has been accessed 1. Privacy policy About ZBrushInfo Disclaimers .zbrush.628 times.Figure 11: The Rapid UI interface hides the master menus list. press Ctrl+Shift+I to set it as your custom user interface.

For example.2 Raytracing/Raycasting r 5.2 Tangent Space Map Uses s 5. Contents q q q q q 1 Bump Maps 2 Displacement Maps 3 Surface Normals and Lighting r 3. up to a certain maximum.2 Normal Map Generation s 5.1 Object Space Map Uses s 5.3.3. and Normal Maps From ZBrushInfo This section is an accompaniment to ZBrush/ZMapper.1 Surface Normals with Specular and Reflective Lighting 4 Bump Maps and Surface Normals 5 Normal Maps r 5. This is accomplished by applying a grayscale texture map to the polygon.2. . including how it relates to other types of rendering techniques such as bump and displacement mapping.2.3.3 How Does Your Application Distinguish Between Tangent and Object Space Normal Maps? s 5. Its purpose is to provide an explanation of the basic conceptual concepts of the normal mapping process.Bump. The intensity of a mapped pixel is interpreted as a height above the polygon.4 Summary of Object Space and Tangent Space Normal Maps r 5.3.1 Representing Normal Maps as Textures r 5.4 Cavity Shading Bump Maps Bump mapping is a technique that allows a flat polygon to presented as if it had more geometric detail. Displacement.1 Converting From a Bump Map s 5.3 Normal Maps in Tangent and Object Space s 5.

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

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

(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. The angle between that arrow and any line drawn on the surface from the .

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

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

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

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

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

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

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

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

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

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

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

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

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

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

From this plug-in you can export 8 bit. 8dot8 allows you to use 8 bit displacement maps to achieve results similar to what you achieve with 16 bit displacement maps.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. can flip your map as well as have access to the innovative 8dot8 file export. 16 bit. or 32 bit RGB or grey-scale maps. 8dot8 separates out major and minor forms into two different maps that can be added together at render time. You have full control over each channel. To use 8dot8 turn the status of Major8 and Minor8 .

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

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

Fixed some issues with 32 bit export for the Macintosh Retrieved from "http://www.info/docs/index. 26 June 2007.zbrush.php/Displacement_Exporter" q q q q q This page was last modified 20:44. This page has been accessed 2.632 times. Privacy policy About ZBrushInfo Disclaimers .

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

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

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and reflectivity. color only (RGB) or material only (M). and its material.7 Mimic Materials 2 Transparency Introduction to Materials In ZBrush. including the 3D brush. including its base coloring or texture. 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. Remember also that the Draw palette allows you to paint with a combination of material and color (MRGB). You can use materials with any tool that adds pixols to the document. 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) .Materials From ZBrushInfo Contents q q 1 Introduction to Materials r 1.4 Types of Materials r 1.2 Material Quick Palette r 1.6 Using Curves r 1.5 Modifiers: Editing Materials r 1. using numeric settings as well as interactive graphs. Always remember that unless Render:Flat Renderer or Render:Fast Renderer are active. the way a surface looks is the result of a combination of factors. the Sphere brush.3 Rendering r 1. and the 3D objects. the lighting. transparency.1 Using the Material Palette r 1.

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

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

and you can create and save your own with the Save function. For example.zmt) format. To choose a material. When loading a material from disk it completely replaces the active material. 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. Material Quick Palette The Materials quick palette shows all 76 available materials. To see the name of a material. with a few exceptions. not only in the palette but in all Pixols that use that material. Click the Load button to load a new material from a disk file into the active material slot. Click the Save button to store the active material to disk in the ZMaterial (. A number of material files are included with ZBrush (located in the ZMaterials folder). you won't see the full effect of the ColorizeGlow material unless you're using Best Renderer mode. Thereafter you can replace the active material with the saved material with the Load function. click its thumbnail. or until you render the document. 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. hold the mouse cursor over its thumbnail for a moment until the label appears. . which reflects any changes you make to the material while editing it.Materials are depicted accurately in the document when you're using the default Preview renderer. The active material is shown in the large thumbnail. in the Quick Palette.

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

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

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

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

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

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

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

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

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

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

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

21 June 2007.zbrush. This page has been accessed 1.Retrieved from "http://www.php/Materials" q q q q q This page was last modified 19:39.info/docs/index.096 times. Privacy policy About ZBrushInfo Disclaimers .

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

Render Palette From ZBrushInfo .

2 Depth Cue Subpalette r 1. and render-level special effects such as fog and depth cueing are included.6 Environment Subpalette r 1.4 Fast Render Subpalette r 1. color.5 Preview Shadows Subpalette r 1. Lighting.7 Adjustments Subpalette Controls .The Render palette controls which methods will be used to calculate the shading of scenes. and material properties are evaluated. Contents q 1 Controls r 1.1 Antialiasing Subpalette r 1.3 Fog Subpalette r 1.

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

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

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

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

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

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

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

Preview Shadows Subpalette Preview Shadows:ObjShadow: Controls the intensity of the model's real-time shadows. Default = 0. an ambient and diffuse setting for the entire scene is set here. and the most distant being the clearest. Preview Shadows:BackShadow: Acts as a drop shadow cast by the current model and . Used only by the Fast Renderer.8.3. Diffuse: Determines how much diffuse shading is applied to all objects on the canvas. 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. Default = 0. Range = 0 to 1. Used only by the Fast Renderer. Range = 0 to 1. Fast Render Subpalette Since the Fast Renderer does not take materials into account.For example. Ambient: Determines how much ambient (unshaded) light is rendered for all objects on the canvas.

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

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

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

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

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

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

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

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

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

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

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

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

This page has been accessed 1. Retrieved from "http://www.166 times. Make sure that Zadd is on. set our Draw Size 3. Then paint a stroke on the canvas.info/docs/index. 8 June 2007.zbrush.php/Pixol" q q q q q This page was last modified 01:26.1. 2. 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. that MRGB is on. Privacy policy About ZBrushInfo Disclaimers . select the simple brush from the Tool palette.

2. with a few ladybugs thrown in.Space Poly Continum: 2D.5D And 3D Understood From ZBrushInfo In this section we will look at a tutorial that explains the different 2D.5D and 3D elements of a scene in ZBrush. You'll be exposed to: q q q q q q q Parametric objects Deformations Basic modeling Texturing Alphas Canvas depth Lighting and rendering settings Bamboo Scene Part 1: Creating The Background Bamboo Scene Part 2: Modeling The 3D Z . This tutorial covers creation of a ZBrush-type 'Z'. written in bamboo on a grassy background. 2.

This page has been accessed 36 times. Privacy policy About ZBrushInfo Disclaimers . 29 June 2007.5D_And_3D_Understood" q q q q q This page was last modified 20:31.5D Grass Bamboo Scene Part 4: Finishing Touches .php/Space_Poly_Continum:_2D% 2C_2.info/docs/index.zbrush.Adding a 3D Lady Bug and Rendering Retrieved from "http://www.Bamboo Scene Part 3: Creating 2.

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

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

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

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

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

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

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

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

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

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

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

should you choose to accept it. don't forget to use The Gyro! . and restart. When you're working with 3D strokes. quit ZBrush. q q Many stroke types have additional settings. Your task. so here are some hints. This will reset most of ZBrush to be very close to its factory configuration. If you select a stroke type (especially a specialized one). this isn't a problem with ZBrush–it's just that's so flexible that it's easy forget settings you've changed.tools (including models). 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. is to come as close as possible to these effect. Not everything you need to know to do the above has been talked about explicitly on this page. press xx. And if all else fails. regardless of how you do it. No. check the Stroke Palette to see if any additional settings show up.

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

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

Editing. and 3D modeling software. This is an extensive tutorial. It's a mix between 2D painting. rendering. Your model can then easily be incorporated into a previously painted scene.by Francois Rimasson Contents q q q 1 Introduction 2 About Zbrush r 2. and lighting. About Zbrush Zbrush is different from other 3D and painting programs.2 Polygroups Visibility r 3.4 Basics: Masking 3 Using Z-Spheres To Create a Stick Figure r 3. but a canvas. you don't have a 3D workspace. but there's still a lot I won't go into. The canvas can be painted on. to sculpt.2 Basics: Sculpting r 2. . and so on.3 Creating a Rough Shape from the Stick Figure Introduction This Project is going to guide you step by step. In ZBrush. such as interface configuration or ZScripts.3 Basics: Hiding and Revealing r 2. When doing pure 3D modeling. and can also be sculpted in and out (like a bas-relief carving. and to allow you to create a whole scene with Zbrush 3 from scratch.1 Basics: Tools. with good rendering capacities. but with much greater depth).1 Polygroups r 3. and Navigation in Zbrush r 2. texture and finally render it. you simply manipulate the model with a (usually) blank canvas as the background. will all work to produce an illustration with true 3D appearance.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Creating New Topology

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

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

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

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

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

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

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

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

Here is what the final geometry should look like.

Before Beginning to Sculpt

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

Creating Polygroups

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

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

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

|Always create your polygroups at the lower subdivision level.

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

The Advantages of Working with Layers

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

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

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

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

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

Detailing the Eyelid.

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

Shaping the Breasts

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

Detailing the Ear

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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 .

. Go to Tool:ZSphere and drag a sphere on the canvas. press t on the keyboard to go into edit mode and then press x to activate the symmetry on the X axis. after.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. Click and drag again to create another sphere on top of the two last spheres. to add new spheres on it. the first sphere that we created is will be the central part of the body (the hips). From this new sphere that we just created we will extrude the legs.

Now we have the legs created.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. 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 .

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

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

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

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

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

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

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

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

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

At this early stage I have decided to close the legs of the character a bit more. . 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. that will enable us to pose it. we will press x on the keyboard to activate it. we will use transpose for this. Then. At this point we make sure to have X symmetry activated. At this point we see that the legs are selected but the mask is too blurry. in case we don't. set Preferences:Transpose:Blur Strength to 2. Press r to go to rotate mode and then press Ctrl and click and drag on one of the legs. and again select the legs. this selects (creates a mask for) the points in the leg.

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. and a line will be created. . Click in the middle of the last circle in this line and move it to the center.

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: .

At this stage I have decided that the model will be wearing some shoes with high heels. 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. 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.

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

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

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

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

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

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

. 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.

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

Keep modeling the face.. 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. 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.

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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.

Then go back to the original slot and drag and drop it to the Vray Disp. so I will use a Vray Disp. as seen in the image. 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.Next thing is to load the color and the displacement map on the model. modifier.01. modifier: . Notice that I'm using Vray as the render engine.

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

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

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

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

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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.Tutorial: Bird of Prey From ZBrushInfo by Joe Lee Contents q q q q 1 Introduction 2 Basic Form 3 Retopologization 4 Feathers r 4.0 have convinced me that this is as good a time as any to try.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. Some of the new features in the Zbrush 3.2 Sorting the Feathers r 4.1 Creating the Feathers r 4. Basic Form So the first thing I wanted to do was to go to the Tool palette and select a zsphere and begin blocking out the form.

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

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

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

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

Pressing Alpha:Flip H on any given alpha can also buy you one more alpha variant to break things up even more. I noticed that there was an auto fade that caused a loss of definition at the tips of the feathers. I then made a few more feather alphas for added variety so as not to have any major discernible repetition. . an eagle. The first alpha I tried. 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. After trying the first test alpha feather. made sure the feather was aligned to the top and the essential details were kept in the center. I decided to increase the size of the alpha. Creating the Feathers When I started looking into the feather options. I didn’t know if I would go with a stencil technique or use the sculpting brushes. I then start to make note of the feathering of these types of birds. I didn’t mind the top of the feather fading but I needed the bottom tip to be as crisp as I could get it. The next section will go into time spent preparing the alphas and figuring out the layering process.Feathers After spending much time trying to fine tune the qualities that make a bird.

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. we can always slide the layer slider back to 0 and start over. Z Intensity = 25. 7 was the highest used. In this case. As a little safety precaution for the FeatherSet subtools. and subdivide to level 6 or 7. Brush:Std. .01 and the other FeatherSet. we’ll click Tool:Layer:New for both subtools. Now set: q q q q Alpha = the feather alpha. with Zadd.Return to the bird tool in Zbrush. Now clone the Birdhead subtool and Append it twice to the subtool list. I renamed one clone FeatherSet. Click and drag feathers in the direction they would flow on the actual bird. Stroke:DragRect. A morph target is also a good alternative if it’s not already being used.02. Now if anything should go astray.

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

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

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

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

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

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

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

zbrush. This may require retopology again but may be worth a try in the future.php/Tutorial:_Bird_of_Prey" q q q q q This page was last modified 23:00. This page has been accessed 38.171 times. Looking back in hindsight.. I hope this tutorial was helpful and assists you in your getting desired results in your future projects.info/docs/index. by Zprojecting details from one entirely onto another..And finally. I would have liked to have tried consolidating the the subtools into fewer. 24 May 2007. A big Thank You to the Pixologic Team! Retrieved from "http://www. Privacy policy About ZBrushInfo Disclaimers .

I settled on the Sphereinder3D tool. Blocking It In The goal was to add hair to a preexisting head. Going to Tool:Initialize. 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. I set: q q Coverage to to about 270. to 45. .SubTool Hair Sculpting Tutorial From ZBrushInfo by Joe Lee The following are some of my observations while learning the new features in Zbrush. Looking for a suitable base form for the hair. In the Preview window you will see what will be the front of the head. I set Rotate with only z highlighted. In the Deformation section. I immediately opened the Tool:Preview window so I could see the changes I am about to implement below.

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

Stroke was set to Freehand with a Mouse Avg of about 4 and the LazyMouse was pressed. . Use the Smooth brush from the dense mesh area to the sparse mesh area and you will see it average out more cleanly. You want to do this before dividing. If you were to pull the front of the hair down the forehead some. you would notice some streching from the rest of the hair base. 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. 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. I then proceeded to block in the hair with the Standard and Pinch brushes.

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You may need to toggle on/off the visibilty of the head subtool to get the look you want. After selecting the Zsphere tool. If you get to a point to where you are starting to like your results then save everything. I went down to Rigging where I pressed Select to choose the hair base ztool I just finished working on. But at some point you may want to make a polymesh 3D tool out of it. it may not be necessary as you will most likely retopologize. If you plan on going with mesh projection later on. For this I used the new Convert To Main feature that has been added to the Zsphere tool.The trick I was trying to pull off was the illusion of the hair growing from under the head so I needed to try to keep the beginning of the hairline just under the head. I kept my hair base a primitive 3D tool until near the end after I divided it several times. 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 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. 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.Go to Topology and press Edit Topology. You can now click across the hair base where you want the strands to flow. .

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

This should grow the branch without scaling the zsphere's positions. 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. 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.

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

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

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

ZBrush 3's PolySphere was offset before release.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. We will use: q q q SubTools Transparency Masks . Click here for a polygonal sphere with its center at the origin. Contents q q q q 1 Introduction 2 Setup The Image Plane 3 Bringing The Image Plane Into ZBrush 4 Sculpting Introduction In this tutorial we will look at sculpting a skull using image planes.

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

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

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

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

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

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

In the video we use masks. Remember to check the front and side views often to see if you are on track. 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. Sculpting Tips by Thomas Mahler (Quicktime required). To learn more about Masks visit the Mask page and the following video tutorials: q q q Sculpting With Masks by Cesar Dacol Jr. .At about this point. (Quicktime required). Modeling With Your Texture by Ryan Kingslien (Quicktime required).

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

RakeSmooth brush is a a preset of several settings: The Clay brush. . a custom alpha. 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. Freehand stroke and others. Here we use the Ramtool brush preset. This is another RapidBrush macro.

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

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

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

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

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

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

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

The weird part was that I could not get Reconstruct Subdiv to work on the skin. (Poda) While Edit Topology is on. (Ladysoul) Q. so you can edit it a bit instead of having first to draw all the topo-lines? Yes! The procedure is explained in detail at the top of this thread under "Editing existing topology" (Poda/Plakkie) Q. I think Mbr defaults to 2 instead. (Mouse_art) Q. and then save the active ZTool. Is there a way to save a topology rig in progress? Just Deactivate the Edit Topology Button. 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. Is there a way to convert the original topology of a model into a Topo-ZSphere structure. Something for ZBrush 3. Q. as demonstrated by Bisenberger. after reloading the ZTool.Q. and work further. 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.5? (Plakkie) Q. When you project your old details onto your new mesh.. Is there a way to transfer the high sub details to the new mesh? Yes! Turn on the 'projection button' in Tool:Rigging. changed the Mbr setting to 0 and made a new adaptive skin. At the moment it seems like that's inevitable. set Tool: Adaptive Skin: Density to 1 and Tool: Topology: Subdiv to 1. 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? . I figured that out the first time I created a skin from my retopo rig. just activate the Edit Topology Button again. (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. So I deleted it.

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

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

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

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

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

Select the MatCap tool in the Tool palette and then open and dock the Material Palette. This is the material you'll be modifying to create your own MatCap material. . Place objects around the object. 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). 4. this lets you quickly see if your material is behaving like the one in the photo.3. It can also be very helpful to place 3d objects on the canvas that are roughly the same shape as the object itself.

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.

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

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

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

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

2 Subpalettes 4 The Title Bar 5 Trays (Palette Docking) 6 Tools and Other Inventory Lists 7 Curves r 7.1 Curve Quick Reference r 7.1 Palette Controls r 3. It is well worth taking the time to explore this chapter before proceeding to the other tutorials. The ZBrush2 Window . understanding ZBrush Modes is so fundamental to using ZBrush that you should read that page before anything else.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. Contents q q q q q q q 1 ZBrush Modes 2 The ZBrush2 Window 3 Palette Basics r 3. ZBrush 2 has introduced many enhancements to be more intuitive and faster than ever to use.2 Curve Tutorial ZBrush Modes While not really part of the ZBrush interface.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

q Select the Plane3D tool. q Draw the plane on the canvas and use the gyro to scale it to fill the screen. move it back behind the idol. 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.layer and a 3D object. While ZMode shadows with good Rays and Aperture settings will produce an excellent shadow. and so will not receive shadows from it. . Also. q Select the Flat Color material. This material is unaffected by the rendering engine. we have chosen to paint the shadow manually in order to illustrate other ZBrush features. q Select alpha 27 and the Simple Brush.

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. turn off Zadd. q Select the Drag Rectangle stroke type.q Rotate the alpha by pressing the Alpha:Rotate button. q Choose a darker color. .

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

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

22. To adjust the direction.Lighting and Materials q Adjust the direction and intensity of the primary light. Set the intensity to 1. 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. q .

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

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

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

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

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

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

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

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

q Modify the material properties. .

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

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

with a few ladybugs thrown in.Tutorial: Bamboo Scene From ZBrushInfo This tutorial covers creation of a ZBrush-type 'Z'. 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.Adding a 3D Lady Bug and Rendering . written in bamboo on a grassy background.5D Grass Bamboo Scene Part 4: Finishing Touches .

zbrush.info/docs/index.Retrieved from "http://www.php/Tutorial:_Bamboo_Scene" q q q q q This page was last modified 20:38.497 times. 29 June 2007. This page has been accessed 3. Privacy policy About ZBrushInfo Disclaimers .

Ultimately.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. a scene could be composed of millions or even billions of polygons. yet still render in real time! This is because only one object ever exists as polygons at a time. but the more specialized selection functions that we’ll make heavy use of here are only available for primitives. (Both are available for polymeshes. One aspect of ZBrush’s workflow is the ability to create extremely complex scenes by combining a bunch of smaller 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.) In this section. we’ll explore a few of .

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. but it’s much easier to see your results when the model is on the canvas. Draw it on the canvas and enter Edit mode by pressing T. . set X Size and Y Size to 20.the possibilities inherent in this system by creating several complex objects. It is possible to do the effects in this tutorial while the model is still in the Tool palette.1 In Conclusion Plastic Pipe q Select the Cylinder3D tool. q In the Tool:Initialize menu.

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

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

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

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

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

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

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

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

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

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

we’ll return to our old friend. q MaskAll. Coverage to 220 and Scale to . Apply Twist at a value of 40.01. then set Sel to 2 and press Col. followed by Row. Creature Tail q q For this object. then clear the mask. and Scale causes it to taper down to almost nothing. In the Initialize menu. SRadius thickens the torus a bit.q q Press MaskAll. the Ring3D. set SRadius to 50. .

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

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

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

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

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

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

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.1 Create a Polymesh Circle r 1.3 Create the Z Polymesh 2 Smooth and Crease the Z r 2.2 Subdivide the Z r 2.3 Add Edge Creasing r 2. Contents q q q 1 Creating the Z r 1. then modify the subdivision smoothing via ZBrush 2’s Crease feature.4 Changing Crease Sharpness 3 In Conclusion .2 Create the Z Shape r 1.1 Draw the New Mesh on the Canvas r 2.

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

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

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. q In the Tool:Deformations menu.As you work. set Offset to Z and then enter a value of around -40. . you will find that sometimes it’s beneficial to use polygon selection and other times it’s easier to use points. If you want to use points. so we’ll delete them. Create the Z Polymesh q Press Tool:Morph Target:StoreMT This stores the current geometry so that it can be referenced later.

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

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

activate Pt Sel.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. . Divide the mesh three times again. The polyframe view will change to show a fine dotted line around the edges of the visible area. q Press Tool:Geometry:Crease. and draw a red rectangle to hide all but the front of the model.

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

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

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

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

1 Restoring the Shape of the Original Model s 3.3 Making Edges Sharper r 1.Tutorial: Modeling a Telephone From ZBrushInfo Contents q q q 1 Edge Loop Modeling r 1. .1 Mesh Visibility Refresher r 1.3 Create A Displacement Map r 3. we’ll cover basic Edge Loop functionality.2 Set Up the Model s 3.1 General Information r 3.2 Adding Polygons r 1.5 In Conclusion Edge Loop Modeling In this section.2.4 Applying a Displacement Map in ZBrush r 3. demonstrating the Crisp function.4 In Conclusion 2 Adding Details with Projection Master 3 Displacemant and Normal Maps r 3.2.2 Assign UV Coordinate r 3.

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

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

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

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

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

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

but thanks to the Crisp modifier. q q q Activate Move on the top shelf. the result is an inner extrusion.visible. Another edge loop has been added. With the I-Grp and O-Grp modifiers selected. it is so narrow that you can’t really see it. One group is created for the center of the loop. and set the Draw Size to a low value like 20. q Press Edge Loop again. and another is created for the outer row. Press X on the keyboard to activate X symmetry. the new polygons are also assigned to new groups. (Note: Your colors may be different from what’s shown here. . Move the points for the center polygon to enlarge and recess it.) Making Edges Sharper q Activate 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. Only the portion that you wish to work on needs to be visible. Incidentally.q Pick the mesh up again. The plane will disappear from the canvas while the word is projected onto the phone. and drop it. . it is not necessary to keep the entire model within the canvas when using Projection Master. q Rotate the model so that the back is facing the camera.

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

ztl from the previous part of this tutorial. But this is still a simple way to do simple tasks. 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. and generate a difference map. ZBrush 2 provides the tools to compare your high resolution and low resolution models. Displacement maps can be used with many animation programs. You should consult your software’s documentation for that information. While ZBrush 2 is highly optimized to work with figures of up to ten million polygons. real time game engines require extremely low numbers of polygons.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. Set Up the Model q Begin by loading the phone3. animation packages can’t handle nearly that many. Instead. Also. It should be noted that there is no need to create difference maps if you’ll be using the model in a ZBrush scene. This tutorial will not explain how to use these maps in your other software. Some animation packages can also combine displacement and normal maps. .

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

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

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

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

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

q Press Texture:Clear. press Alpha:Make Tx. you might have a friend who wishes to share his model with you. If ZBrush 2 can work with extremely dense models. which we’ll cover here: q If you would like to see what the alpha looks like on the model. There’s not really a need to do this. the model must have a texture assigned to it. with their displacement maps. it’s easier to send a level 1 model with a displacement map than a level 7 model. Or maybe you simply wish to conserve disk space. there are a few reasons. why would you wish to use displacement maps? Well. Maybe you are importing a displacement-mapped model from another program for use in a ZBrush scene. ZBrush provides an easy way to use displacement maps. In order for a displacement map to be viewed in ZBrush. but sometimes it’s nice to see. Maybe you wish to refine a map that you’ve already created.” . The new texture will automatically be applied to the model. 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. Along the same lines. 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. Whatever your reasons.q Export the alpha.

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

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

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

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

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

q q About ZBrushInfo Disclaimers .

S.1 In Conclusion Creating Armor with ZSpheres In this section.1 In Conclusion 3 Fine Details with Projection Master r 3.1 In Conclusion 2 Sculpting the Armor r 2. . we’ll use ZSpheres to create a base mesh that will be refined in the following sections.1 In Conclusion 4 More Armor: Upper Arm r 4.1 In Conclusion 6 Combining Everything Into a Scene r 6.1 In Conclusion 5 The Warrior's Head r 5. Rolhion Contents q q q q q q 1 Creating Armor with ZSpheres r 1.Tutorial: Warrior Image From ZBrushInfo by By J.

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

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

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.

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

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

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.This creates a new object in the Tool palette.

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

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

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

.Feel free to put these dots anywhere you like to add visual interest to the armor. As you can see. 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).When you’re done. q Save the tool as ArmorPart2b.

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

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

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

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

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

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

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

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

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

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

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

there is nothing more that you need to do. However. :-) If you are using the model within a ZBrush scene (like we will do later in this tutorial). q Save your model as ArmorPart3. 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. if you are planning to use the model in an animation package. I’d like to say that I created this whole breastplate in 30 minutes. it would be a simple matter to create a displacement and/or normal map. 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. including rendering.ztl. .

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

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

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

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

Using a Draw Size of between 50 and 70. press W to switch to Edit Move mode. . With the preview active.The mesh should look similar to what you see above. 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. If necessary. move polygons around to refine the shape as shown.

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

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

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

Inflate into Deflate. add bumps and spikes to the armpiece. . As with the breastplate. 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. q Using InflatDot and various Z Intensity settings. q Using a very small Draw Size and a high Z Intensity. allowing you to cut the ring. it is nice to be able to see a material applied to the model while working. add small spikes to the edges.

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

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

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

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

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

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

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

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

followed by Move mode to push it into shape (2). Using the Inflat brush. These steps are all illustrated in the image on the next page: . Change Draw Size and Z Intensity as necessary to get the results that you’re looking for. Move can also be used to refine the cheek shape (3) and the eyes (4). begin adding brows. 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.

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

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

The images below show the settings that you should use for each channel. 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 Select the S1 channel again and press PasteSH. We can now easily modify this to create a complex. four-layered material effect that will appear to be somewhat translucent.q q Select the S1 channel and press CopySH to copy this shader.

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

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

blending it together as you go. This allows us to paint with color. 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. rotate it to a new angle. etc. since they allow you to build color up gradually. This process of dropping and picking will quickly become second nature to you. and activate Rgb instead of Mrgb. it is best to repeatedly pick up the model. Vary your colors. No depth or materials will be added while we work. 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. Here is our texturing in progress: . draw size. q When ready. 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. alone. Low Rgb Intensity settings are essential for realistic texturing.

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

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

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

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

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

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

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

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

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

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

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

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

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

5D tools and 3D tools in one integrated environment.zbrush.580 times. Privacy policy About ZBrushInfo Disclaimers . 8 August 2006. 2.php/Tutorial:_Warrior_Image" q q q q q This page was last modified 19:41.info/docs/index. Retrieved from "http://www. 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. This page has been accessed 3.In Conclusion ZBrush is really powerful when editing your image to get the best effects using a combination of 2D tools.

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

. Of immediate importance is that you understand and are comfortable with the new polygon selection capabilities presented in ZBrush 2. Part 2 of the tutorial will explore refining and detailing the model using new techniques and features found in ZBrush 2 . rendering and post work. painting. If you have not done so.zip file.0. These tutorials are of an intermediate level.” A simple cube is taken and formed into a basic shape to which additional detail and form is added. This can be done in ZBrush 2 now as well. 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. A common method in the 3D world for building models is called “Box Modeling. The two alphas that are used in this tutorial are available in the Image:Lizard Files. 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.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.

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

Enter Polyframe mode. Clear the document and draw the new skin out onto the document. 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. . Move the vertices around until you are satisfied. 2): Select the blue polygroups (your actual colors may differ). 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. Make sure you are in X-Symmetry mode when doing this by pressing the X key on the keyboard.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. 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. 1) : The default polygroups generated. We will be working in this mode through the rest of this chapter. q You may find it necessary to tweak the model a bit by entering EDIT:MOVE and moving the vertices around. This is not entirely necessary in this tutorial. You should see two red dots appear in symmetrical relation to one another on the model.

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

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

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

q q Hide the outside edge loop of polygons by CTRL+SHIFT+LMB Clicking on them. 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. This time move the vertices inward to create depth. If you wait until after you have modeled in details to add edge loops you will be in for a nasty surprise. Once you have completed cutting in all the additional edge loops for the eyes and moving the vertices accordingly you should have something similar to the picture below. 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. This will become the basis of the eye socket later on.

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

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

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

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

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

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

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

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

Let’s have fun. how to create custom alphas on the fly while modeling. 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. So fire up ZBrush 2.0 and load the model you created from Chapter 1 of the tutorial if you haven’t already done so. We will take a look at how alphas can be adjusted and put to good use.0 .

During this “roughing out” phase I like to use several TRANSFORM:EDIT BRUSHES . 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. It is at this point where all the extra edge loops we created around the eyes and mouth will come in handy. This edit feature is ideal for fixing mistakes. smoothing rough spots. You will want to take the opportunity to shape the eye at this point. 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.This should place the mesh at three subdivision levels. Generally a Zadd setting of around 8 to 12 will suffice. I switch back and forth on brush sizes large sizes to cover large areas and small sizes to do finer edge work. 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. My particular favorites at this stage of the modeling are Standard and Inflate . . You can clean up afterwards if need be with the Smooth Brush. or even flattening the surface of an area. Move the polygons around the eye area to create a round socket. You can also store a morph target and then use the Morph brush to revert to the stored geometry.

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. You can now reveal the entire model and as you can see the entire model save for the tops of the head ridges has been masked. Set ZAdd to 50 and set the brush size to about 8 or 10. q q We need to tighten up a few lines so let’s use the Pinch Brush. This will mask the visible area. 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.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. .

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

There is no need to overwork it at this point since we will be coming back to the teeth once we have subdivided again. I did that with the nose to get more of a slope on top. 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. q q Use the Inflate Brush to add in some detail around the snout area. Use Edit:Move to push some of the polys around to get a more pleasing shape.

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

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

q Once we are done with this level of detailing. .You should not at this time have any other Drawing features enabled such as RGB or Material . The Resources\Sargent folder contains the two alphas that were used. 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. 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 detailing we painted will be picked up and the displacement will be calculated and applied to the mesh.

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

q Light 1: Sun r Intensity: 1.21 r Color: White r Shadows: 50 with intensity 100 blur 2 .

45 r Color: 255.40 r Color: 197.q Light 2: Sun r Intensity: . 250. 247 q . 143. 106 r No shadows Light 3: Sun r Intensity: .

nose. and skin folds. mouth. q Created from the BasicMaterial r Ambient: 0 r Diffuse: 75 r Cavity Intensity: 15 r Cavity Colorize: . 206 Apply the new material to the model by Copying the material and Pasting it into the Fast Shader material slot. which are identical except Material 2 has a specular value of 20.3 r Cavity Color: 236.r No shadows Material Settings I used two materials. Render Settings . Zadd etc turned off) paint in the specular material around the eyes. Using the Simple Brush with only Material selected (Rgb. q The entire model will now be covered in the custom material we created. q q Paste the material into another material slot and increase the specular value to 40. 223.

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

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

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

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