IntroductionWelcome| 00:04 | Hi! I am Ryan Kittleson, and welcome
to ZBrush 4 Essential Training.
| | 00:09 | In this course, I'll show you
everything a beginner needs to get started using
| | 00:12 | ZBrush to expand their artistic
skills into the digital world.
| | 00:17 | First, I am going to explain the
interface and help you make sense of how ZBrush
| | 00:20 | works to get what's in
your head onto the screen.
| | 00:24 | Then I'll show you not only how to
create and sculpt a model, but how to export
| | 00:28 | it for games or animation.
| | 00:30 | I'll cover the whole pipeline of model
creation in ZBrush from making a basic
| | 00:33 | form, to refining details and painting textures.
| | 00:36 | This course hits all the important features.
| | 00:38 | ZBrush is an amazing program
that can seem intimidating at first,
| | 00:43 | but I'll focus on making sense of the
core features, without getting bogged down
| | 00:47 | in unnecessary functions.
| | 00:49 | Well, I am excited to start ZBrush 4
Essential Training, and I hope you are too.
| | 00:53 | Let's get to it.
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| Using the exercise files| 00:00 | If you're a premium member of the
lynda.com Online Training Library, or if
| | 00:05 | you're watching this tutorial on a
DVD-ROM, you have access to the exercise
| | 00:09 | files used throughout this title.
| | 00:11 | Now the exercise files are arranged by
chapter, so for example in Ch03 you can
| | 00:16 | see that there are several exercise
files that we're going to be using.
| | 00:19 | In this case, a Z project--
| | 00:21 | it's like a model--and also some brush presets.
| | 00:24 | You'll see that there are some
other models in other chapters as well.
| | 00:28 | However, for the most part we'll be
using models that come along with ZBrush
| | 00:32 | that are built into the program.
| | 00:34 | Those are usually
accessed through the Light Box.
| | 00:37 | So down here in the bottom of the
screen, you can see that there are lots of
| | 00:40 | models that come with
ZBrush that you can load in.
| | 00:42 | We'll be using these to sculpt with and model
on and do all kinds of fun things in ZBrush.
| | 00:49 | If you don't have access to the
exercise files, you can follow along from
| | 00:52 | scratch, or with your own assets, or by using
these models that are built in with ZBrush.
| | 00:56 | All right, let's get started.
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| What is ZBrush?| 00:00 | ZBrush is a great piece of software that
allows you to create highly complex and
| | 00:05 | organic forms in ways that other programs can't.
| | 00:08 | Getting general 3D tasks done in Maya
or 3ds Max is great, but when you need to
| | 00:13 | do some serious modeling, ZBrush is
a great secondary program to turn to.
| | 00:18 | It allows you to make all kinds of
sculptures and models with a high degree
| | 00:21 | of creative freedom.
| | 00:23 | Instead of worrying about extruding
polygons in Maya, you can immediately start
| | 00:27 | sculpting in ZBrush.
| | 00:29 | This means that you can focus on being
creative rather than tweaking vertices all day.
| | 00:34 | You can then export models along with
texture maps into game engines or any
| | 00:38 | other software for rigging,
animation, or rendering.
| | 00:41 | First, ZBrush allows you to start with
basic shapes that can easily be moved
| | 00:46 | around and adjusted without
worrying about fine details.
| | 00:49 | Then those shapes can be refined and
sculpted on with brushes that react naturally.
| | 00:54 | There's the ability to use photographs
directly on the 3D model for painting or
| | 00:59 | adding surface texture.
| | 01:00 | You can work non-linearly by making
fine details and then change large-scale
| | 01:05 | proportions without losing any of that detail.
| | 01:07 | Models can be cut up, combined, and
shaped to fit other models, and modified in a
| | 01:12 | huge number of ways.
| | 01:14 | All of these options mean that
you're free to quickly explore artistic
| | 01:17 | decisions in ZBrush.
| | 01:19 | Being the complex program that it is,
ZBrush can be confusing to use at times.
| | 01:24 | I'll make special comments throughout
the course to highlight difficult features
| | 01:28 | and present solutions to common problems.
| | 01:31 | My goal is to remove the mystery from
how ZBrush works so that you can make
| | 01:35 | wonderful things with minimal trouble.
| | 01:36 | ZBrush is capable of amazing things that
were unimaginable just a few years ago.
| | 01:41 | With a little practice, your artistic
vision can be brought to life with the
| | 01:45 | help of this powerful program.
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| A note on screen resolution| 00:00 | Before we get into the meat of
ZBrush, I just want to talk about screen
| | 00:03 | resolution for a minute.
| | 00:05 | Right now, I've got the screen
resolution on its highest setting and everything
| | 00:09 | that you can do in ZBrush is
visible on screen right now.
| | 00:13 | However, when we record this course we're
going to be using a lower screen resolution.
| | 00:18 | And that means a few
things are going to get cut off.
| | 00:21 | Most notably, there's a few buttons
right down here below the Rotate.
| | 00:25 | All this from Polyframe down is
actually going to be cut off on the screen when
| | 00:30 | we record this course.
| | 00:32 | So if there is anything that needs
to be done on those buttons, I'll just
| | 00:36 | mention that it's down below where we can see.
| | 00:39 | Something else that's going to happen
is right here with the spotlight down on
| | 00:43 | the lower part of the screen,
| | 00:45 | a few of these buttons are going to be
jumbled on top of each other. That's okay.
| | 00:49 | We're not really actually going to use
any of those buttons, but just be aware
| | 00:52 | it might look a little confusing.
| | 00:54 | There's one other thing that's going to
look a little bit off, and that is this
| | 01:00 | ActivePoints and TotalPoints section;
| | 01:01 | it just says how many
polygons are in our model at once.
| | 01:05 | That part is going to be kind of
squished off to the edge as well.
| | 01:08 | If you need to see that, you can
just click on this button right here and
| | 01:11 | that'll scoot over at the palette on
the right side and allow you to see how
| | 01:15 | many polygons are in your model.
| | 01:18 | Even if you're working at a lower
resolution yourself, you can still do
| | 01:22 | everything that needs to be done.
| | 01:23 | But instead of pushing a button, you might
have to use a hotkey combination on the keyboard.
| | 01:27 | That's okay. I'll be showing you
all those hotkeys as we do the course.
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1. Understanding the InterfaceMaking sense of ZBrush| 00:00 | ZBrush is primarily used by artists and
designers as a 3D modeling and sculpting program;
| | 00:06 | however, it started out as a much
different kind of software, upon which 3D
| | 00:10 | sculpting was added.
| | 00:11 | That's why so many functions within
ZBrush may seem to be counterintuitive
| | 00:15 | because they were originally
designed to do something else.
| | 00:18 | If something doesn't seem to make
sense to you, don't doubt your sanity.
| | 00:21 | Just realize that ZBrush is a much
different program than it used to be, even
| | 00:25 | though it still uses the interface
and terminology of the earlier versions.
| | 00:30 | This creates much confusion and makes
ZBrush at first seem daunting to learn.
| | 00:34 | Oftentimes the explanation of why
something in ZBrush works a certain way is
| | 00:38 | so hard to communicate that it's just
better to accept that that's the way it
| | 00:41 | is and not wonder why.
| | 00:43 | So the very first thing that you'll
probably want to do in ZBrush is to get a 3D
| | 00:47 | model to start sculpting on.
| | 00:48 | In ZBrush, models are called tools.
| | 00:51 | They're called this because in the early
days of ZBrush you could use a 3D model
| | 00:55 | as a tool to add depth to the canvas.
| | 00:58 | Now ZBrush saves and loads models
as tools in its own ZTL file format.
| | 01:04 | Let's go over to the Tool
palette and click Load tool.
| | 01:09 | And you see here we've got several
tools that come with ZBrush to choose from.
| | 01:12 | Let's grab the Dog.ZTL and click Open.
| | 01:16 | Now nothing has popped up on screen,
but if you look over here in the Tool
| | 01:19 | palette, you'll see that there's a
picture of a dog as well as a smaller picture
| | 01:24 | of a dog and some other things in here.
| | 01:26 | This is your current toolbox or toy chest.
| | 01:28 | It's the models and tools that
are currently loaded into memory.
| | 01:32 | This bigger picture shows you the
tool that is currently selected.
| | 01:36 | It's the one that will get
placed in the canvas next.
| | 01:39 | The way to actually start using this
model is now to click and drag in the canvas.
| | 01:43 | This positions and places a copy
of the dog model on the canvas.
| | 01:47 | Remember, ZBrush is based on a painting program,
| | 01:50 | so we've actually just painted a
stamp of the model on the canvas.
| | 01:54 | If you click and drag again on the
canvas, you'll notice that several other
| | 01:58 | copies of the dog model will get
created every time you click and drag.
| | 02:02 | This is the part where most people
give up and don't ever open ZBrush again
| | 02:05 | because it just doesn't make sense.
| | 02:07 | Lucky for you, I am here
to show you what to do next.
| | 02:10 | I just want to clear all of these
models off the screen so I am going to hit
| | 02:13 | Ctrl+N. So it's back to the way we started.
| | 02:17 | Now I'll just draw out
another copy of the dog model.
| | 02:20 | Now click on the Edit button up here at the top.
| | 02:23 | This puts the model in Edit mode so we
can actually get some work done on it.
| | 02:28 | Remembering these few steps will get you
started on almost anything you need to do in ZBrush.
| | 02:33 | It's weird, I know,
| | 02:34 | but once you get past this, all
kinds of artistic possibilities open up
| | 02:38 | within ZBrush.
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| Understanding the interface| 00:00 | Like any software, ZBrush has an
array of buttons, menus, and controls that
| | 00:05 | let you get work done.
| | 00:06 | First off, there is this thing called
Light Box at the bottom of the screen.
| | 00:10 | I'm going to go more into depth in
Light Box in other movies, but basically
| | 00:13 | it's a browser that lets you load in models,
tools, textures, and more, from your computer.
| | 00:19 | However, it's just in the way right now,
so I'm going to close it down with the
| | 00:21 | Light Box button up here.
| | 00:24 | At the top of the interface is the
typical row of menu items that expand
| | 00:29 | when you click on them.
| | 00:31 | On the left in the top are various controls
for brushes, sculpting, color, and materials.
| | 00:36 | I'll go over these more in later videos.
| | 00:40 | This strip on the right-hand side has
various controls that affect the way
| | 00:43 | you view the canvas.
| | 00:44 | I will cover these functions
in the later video as well.
| | 00:47 | Because of the screen resolution
that I'm using, some of the buttons
| | 00:50 | aren't visible right now.
| | 00:52 | One of the buttons, called Polyframe,
I'll talk about in a later movie; the
| | 00:57 | others are less commonly used and
won't be covered in this course.
| | 01:01 | On the far right is a palette that has
the Tool menu loaded into it by default.
| | 01:06 | In order to see everything that the Tool
menu has to offer, let's load up a tool.
| | 01:13 | We're using the ZBrush trial version;
| | 01:16 | the interface should be exactly the same.
| | 01:18 | So in the Ztools folder of your version of
ZBrush, you should be able to find a Dog model.
| | 01:23 | Now we can see that there are several
submenus under the Tool menu. Click on
| | 01:29 | the names to expand them and see that there
are additional controls under each of them.
| | 01:33 | If the list goes off the screen, you
can just click and drag anywhere on it and
| | 01:37 | then scroll the palette up.
| | 01:39 | You can click the name of one of
these sub-palettes to close it again.
| | 01:43 | Some of the settings and buttons in the
interface can be hard to figure out, to say the least.
| | 01:47 | If you want some extra information on
what any of them do, hold down the Ctrl
| | 01:52 | button on your keyboard as
you hold the cursor over it.
| | 01:55 | A box should pop up
explaining how to use the function.
| | 01:58 | So I'm just holding down Ctrl and you
see that each button or menu option that I
| | 02:04 | move the mouse over pops up with a
little explanation of how to use it.
| | 02:09 | Finally, if the interface is just
getting in your way and you want to make more
| | 02:12 | room for your model on screen, just
hit the Tab key. That hides a lot of the
| | 02:16 | interface. Hit Tab again to bring it back.
| | 02:20 | With the basic understanding of the
interface out of the way, we can now move on
| | 02:24 | to a more in-depth exploration of
ZBrush and its many capabilities.
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| Using Light Box| 00:01 | Light Box is basically a media
browser built into the ZBrush interface.
| | 00:05 | It allows you to search and load pictures,
models, textures, and more into ZBrush.
| | 00:10 | It's an alternative to loading
things in through the various separate menus
| | 00:14 | and palettes of ZBrush.
| | 00:15 | If Light Box isn't currently on,
click the Light Box button at the top.
| | 00:20 | This turns it on and off.
| | 00:22 | So what we see here is a media browser.
| | 00:24 | There are buttons that take you to some
of the built-in content, like Projects,
| | 00:28 | Tools, Textures, and so forth.
| | 00:31 | You can just click and drag anywhere
in here to scroll through and see
| | 00:34 | everything that's in this folder.
| | 00:39 | Double-clicking on any item will load it.
| | 00:41 | So, for example, if I go into the Tool
section and double-click on Dog, it will
| | 00:45 | become the new active Ztool.
| | 00:49 | Clicking on images will
load them into Spotlight.
| | 00:52 | I'll go more into depth into Spotlight
in a later video, but it's basically an
| | 00:55 | image editing and painting tool.
| | 00:59 | I personally find Light Box to be clumsy
and less useful than just opening media
| | 01:03 | the old-fashioned way, but some people like it.
| | 01:05 | So feel free to experiment, but if you
don't like it, just know that you can do
| | 01:09 | everything it does through
the existing interface menus.
| | 01:13 | Light Box can be a good way to quickly browse
different types of media and open it in ZBrush.
| | 01:18 | It doesn't really do anything new;
| | 01:19 | it just provides a single
way to import things into ZBrush.
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| Navigating the canvas| 00:00 | Navigating around your model in
ZBrush may seem a little awkward at first.
| | 00:04 | Once you get the hang of just a few
simple controls, it will become second nature.
| | 00:08 | You'll then be able to move easily
from one part of your model to the next
| | 00:12 | without even thinking about it.
| | 00:14 | If you have used other 3D programs
before, you may be used to how you
| | 00:17 | navigate in the viewport by holding various
keys and clicking or scrolling the mouse wheel.
| | 00:21 | ZBrush isn't all that different, but it
does a few things in its own special way
| | 00:26 | that takes a little getting used to.
| | 00:27 | I'm going to show you how to quickly rotate,
move, and zoom your way around a 3D model.
| | 00:31 | I'm going to double-click on the
DemoRhino down here in the Light Box to have
| | 00:36 | something to work with.
| | 00:38 | Starting with rotation,
ZBrush makes this very easy.
| | 00:41 | All you do is click and drag
on an open area of the canvas--
| | 00:45 | so any part of the interface that isn't
buttons or the model you're working with--
| | 00:49 | and it will just rotate the model around.
| | 00:52 | You can move up, down, and left, and
right by holding down the Alt button while
| | 00:56 | you click and drag in an open space.
| | 01:00 | Zooming is a little bit tricky.
| | 01:02 | You start out by moving, by holding down
Alt and clicking and dragging, but then
| | 01:06 | you let go of Alt and move your mouse
up and down and it goes into Zoom mode.
| | 01:12 | If you zoom in so close to your model
that there is no longer any blank space
| | 01:16 | to click on, all you do is click on
this outer edge of the canvas and ZBrush
| | 01:21 | knows that you want to
navigate rather than edit the model.
| | 01:23 | Now sometimes this happens where the
model disappears, so all you do is hit the
| | 01:27 | F key on the keyboard and that frames
the model, brings it all back into view.
| | 01:33 | You can also use the Move, Rotate, and
Scale buttons on the lower right-hand side
| | 01:36 | of the canvas; just click and drag on
any of them to do the exact same thing.
| | 01:41 | The Scale button especially comes in
handy because the whole move-and-then-
| | 01:45 | release-Alt-and-drag thing can be awkward
sometimes, so it's easier to just use this button.
| | 01:51 | Once you have figured out all these
simple controls, you'll ready to attack your
| | 01:54 | model from all sides.
| | 01:56 | Navigation in ZBrush will become
second nature to you and you'll be able to
| | 01:59 | do it in your sleep.
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| Using Perspective and Floor| 00:00 | Like any other 3D program, ZBrush can
simulate perspective so that things close
| | 00:05 | to the camera are larger and
things far from the camera are smaller.
| | 00:09 | ZBrush can also show you a grid
to help you visualize 3D space.
| | 00:12 | I'm going to open up the
exercise files for this movie.
| | 00:15 | I'm going to hide Light Box
because it's just in the way right now.
| | 00:21 | And now if you click and drag and rotate,
you'll see that there are two versions
| | 00:25 | of this super-average man.
One of them is behind the other.
| | 00:29 | So with Perspective turned on by
default, with this button highlighted,
| | 00:32 | you'll see that the model that is farther
back is smaller, just like it is in real life.
| | 00:38 | With Perspective turned off, you'll
see that they appear to be the same size,
| | 00:41 | even though one is farther away.
| | 00:44 | I like to turn Perspective on if
I'm trying to model from a reference
| | 00:47 | photograph. Since photos have
perspective, I want to model with perspective in
| | 00:52 | order to work accurately.
| | 00:55 | One way to help visualize your model
in 3D is by turning on the floor.
| | 00:59 | It's this button right here.
| | 01:01 | It's really just a grid that
sits at the base of your model.
| | 01:04 | You can turn the grid on any of the
three axes by clicking on their letters at
| | 01:08 | the top of the button.
| | 01:09 | So it's kind of hard to see with the
Floor button turned on, but you can see
| | 01:13 | there is an X, Y, and Z right here.
| | 01:15 | If I change it to X and then turn of Y,
you can see that we now get a grid on
| | 01:20 | the side. Or if you turn on Z,
you get a grid at the back.
| | 01:28 | You can even have two grids on at once.
| | 01:30 | You might want to use the floor if you
want to make sure that you're placing
| | 01:33 | thing in evenly spaced increments.
| | 01:37 | Perspective and the floor are two
features that can help you visualize how your
| | 01:40 | model fits in the 3D space.
| | 01:42 | It's really up to your preference how
you use them, or if you use them at all.
| | 01:45 | Sometimes they can just get in the way,
but other times they can really help you
| | 01:48 | orient yourself in 3D space.
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| Understanding local centering| 00:00 | When you're navigating around your
model, you'll sometimes want to rotate around
| | 00:04 | the whole object and sometimes
just around a single part of it.
| | 00:08 | Local centering is an easy way to make
ZBrush focus in on important details.
| | 00:13 | So let's open up the SuperAverageMan project.
| | 00:17 | By default, local centering is turned on.
| | 00:19 | It's this button right here that says Local.
| | 00:23 | If I rotate around the model, you
can see that we're rotating around the
| | 00:26 | center of the model.
| | 00:27 | That's because I haven't
edited any part of it yet.
| | 00:30 | If I start making changes in any part
of it and then rotate, you can see that
| | 00:35 | now we rotate around the position that I edited.
| | 00:39 | If I zoom in a little bit, you can see
it's going to zoom in on the last place
| | 00:42 | that I edited and rotate around that point.
| | 00:45 | This makes it easy to focus on
a close-up area of the model.
| | 00:49 | If you simply click on the
Local button, this will turn it off.
| | 00:52 | If I zoom out to make it a little bit
easier to see, you can see that we now
| | 00:56 | rotate around the center of the model again.
| | 00:59 | It's really up to your own preference
when to use local centering and when not to.
| | 01:03 | It's one of those features that can
really speed up your workflow by making it
| | 01:06 | easy to focus in on specific areas.
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| Trying different materials| 00:00 | Materials affect the way that
your model is seen on screen.
| | 00:04 | They simulate lighting,
colors, reflectivity, and so on.
| | 00:08 | You can use them to see what the model
would look like if it were made of other
| | 00:12 | kinds of substances.
| | 00:13 | Let's start by opening the built-in DemoRhino.
| | 00:17 | It's easier to see the effect of
materials when a model has been subdivided to
| | 00:21 | a more smooth level.
| | 00:23 | Open up the Geometry
sub-palette and click Divide a few times.
| | 00:26 | I am just going to click it
up till subdivision level 4.
| | 00:30 | The way a model looks on screen is a
combination of its material and its color.
| | 00:35 | Right now, this rhino has a very dark color.
| | 00:37 | You can see it's the main
color and it's a dark gray.
| | 00:40 | So this is darkening the
default color of the material.
| | 00:44 | In order to see the material in its
purest form, just drag here in the color
| | 00:48 | chooser up to white.
| | 00:50 | Now we see what the material
looks like in its purest form.
| | 00:53 | Now we can click on this button.
| | 00:55 | It's the material chooser.
| | 00:57 | And what we see is an array of all these
different materials that we can put on the rhino.
| | 01:02 | Hovering over any of them shows us a
quick preview of what it's going to
| | 01:05 | look like on the model.
| | 01:06 | So you can see there are some
| | 01:08 | that're really fancy, have a really
cool metallic look to them, and then there's
| | 01:12 | others that are more plain.
| | 01:14 | I actually like to use
one of the more simple ones.
| | 01:17 | It's really up to your preference.
| | 01:19 | It doesn't have anything to do with
how the model will look if it's exported
| | 01:22 | into a different program;
| | 01:23 | however, some of them can be deceiving and
make a model look better than it actually is.
| | 01:29 | So, for example, if I just click on
this one right here, you see it gives a
| | 01:33 | really metallic, shiny look to the model,
but all that extra information can get
| | 01:39 | in the way when you're trying to sculpt.
| | 01:41 | More exotic materials like this create
a lot of extra information that make it
| | 01:46 | difficult to really see what
detail is sculpted on the model,
| | 01:49 | so I prefer to use a simpler
material like this one right here.
| | 01:53 | You'll use materials to get a sense of
what a model can look like with various
| | 01:57 | surface properties, but you'll
probably find yourself sticking to a favorite.
| | 02:01 | It helps you see the forms that you're
sculpting rather than a more eye-catching
| | 02:05 | material that just looks pretty.
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| Activating symmetry| 00:00 | The ability to edit and sculpt your
model symmetrically is one of the most
| | 00:04 | commonly used features of ZBrush.
| | 00:06 | It allows you to make the same changes to
both halves of your model at the same time.
| | 00:11 | Let's open up the SuperAverageMan
Zproject to have something to work with.
| | 00:18 | By default, symmetry is turned off.
| | 00:20 | So let me make this brush a little bit
smaller to make it easier to see.
| | 00:24 | And if I do any changes to one half of
this model, you can see that nothing is
| | 00:27 | happening to the other side.
| | 00:30 | Let me just undo this by hitting Ctrl+Z.
Now I want to hit X on the keyboard.
| | 00:34 | This is going to turn on symmetry.
| | 00:36 | So you can see there is another
little dot on the other side that mirrors
| | 00:40 | exactly where my cursor is.
| | 00:42 | Any edits I make to the model I
now duplicated on the other side.
| | 00:45 | There are some options that we can set
for symmetry up in the Transform menu.
| | 00:51 | So you can see it's activated right here.
| | 00:54 | You can also turn it on or off right here.
| | 00:56 | You can change which
axis is being mirrored over.
| | 00:59 | So right now it's the X axis.
| | 01:01 | If I change this to Y, now
you can see that the symmetry is
| | 01:05 | happening vertically.
| | 01:06 | Let's go back up into the Transform
menu, and there is another type of symmetry
| | 01:12 | we can use called radial symmetry.
| | 01:15 | What this does is it creates multiple
points that rotate around one central axis.
| | 01:21 | I want to use this on a separate exercise file,
| | 01:24 | so I'm just going to go up into Load
tool and open up the cake.ZTL file,
| | 01:29 | and let's just zoom out a little bit
so we can see this more clearly.
| | 01:34 | So let's say you wanted to make
something like a wedding cake.
| | 01:37 | You could use radial symmetry to
sculpt the same decorations around, so you
| | 01:42 | don't have to do each of them individually.
| | 01:44 | So up in the Transform we've got
Radial Symmetry turned on, a count of 8.
| | 01:48 | You could actually make as many
counts as you wanted to, or as fewest, too.
| | 01:52 | Let's do something like 8. All right!
| | 01:55 | So now we see we've got all these
dots that go around the objects.
| | 01:59 | If you make any edits to it, you can see
you get the same thing all the way around.
| | 02:05 | Since most of the work I do in ZBrush is
on characters, I use symmetry all the time.
| | 02:10 | It sure beats having to do the same
sculpting twice like you would have to
| | 02:13 | with real clay.
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| Viewing your work in various ways| 00:00 | ZBrush has a few tricks up its sleeve
that let you view things in different
| | 00:04 | ways. From isolating a single subtool
to viewing at right angles, or spreading
| | 00:09 | out all your subtools, ZBrush can help
you visualize your models in ways that
| | 00:13 | help you work better.
| | 00:15 | Let's open up the exercise file.
| | 00:16 | I am going to go to File >
Open and choose the hank.ZPR.
| | 00:20 | Let's close the Light Box
down to get that out of the way.
| | 00:24 | Now let's say you want to pull this
character's nose out to make it longer,
| | 00:28 | so you might zoom in on the face here.
| | 00:31 | And let's see, let's turn it to the
side a little bit, and let's grab a Move
| | 00:34 | brush so we can just pull that nose out.
| | 00:37 | Let's say I'm going to zoom in
closer, and let's make this brush just a
| | 00:43 | little bit smaller.
| | 00:44 | I'm also going to turn on symmetry by
hitting X, so that we can work on both
| | 00:48 | sides of the model at the same time.
| | 00:50 | Now let's say I grab this nose
and I want to pull it out.
| | 00:53 | It might look good from the side, but I want
you to start looking at it from other angles,
| | 00:56 | you can see that the nose
wasn't pulled straight out;
| | 00:59 | the two halves kind of intersected each other.
| | 01:01 | This is because I wasn't looking at the
model directly from a straight-on view.
| | 01:05 | So let's undo that.
| | 01:08 | View snapping will make sure that you are
viewing the model at straight-on 90-degree angles.
| | 01:13 | Using it is very simple.
| | 01:15 | As you rotate around the model, you
hold down the Shift key and the view will
| | 01:19 | snap to whichever front, side,
or bottom view is the closest.
| | 01:23 | You can simply release the Shift key
and you go back to normal rotation mode.
| | 01:28 | Now let's use that to get a
straight-on side view. All right!
| | 01:32 | We're locked into a side view.
| | 01:34 | I'm just going to release the mouse and
the Shift key, and let's try that again.
| | 01:40 | Now you can see we've got a
straight-out movement on that nose.
| | 01:43 | The ZBrush's Solo mode is handy when
working on models with several subtools.
| | 01:53 | Sometimes you just want to see the active
subtool and make the others go away temporarily.
| | 01:57 | You can turn on a mode called Click to Solo.
| | 02:00 | This will make it so that when you click
once on the canvas, all subtools except
| | 02:04 | the active one will be hidden.
| | 02:06 | So you activate it by going up to
the Preferences menu and clicking Edit.
| | 02:10 | Now, you just turn on Allow Click to Solo.
| | 02:14 | What this means is that anytime you
click once in an open area of the canvas,
| | 02:18 | the active subtool will remain
visible and all the others will disappear.
| | 02:22 | Just click again to bring everything else back.
| | 02:26 | This would be useful if I wanted to sculpt
on his body with the clothes out of the way.
| | 02:31 | Solo mode can also be turned on with
a button down here on the right side.
| | 02:35 | Because of the screen resolution I'm using,
I can't see that button. It's hidden.
| | 02:39 | But down below Rotate,
there is a button called Solo.
| | 02:41 | If you just click that, that also
hides all the inactive subtools.
| | 02:45 | Another feature is called Expose.
| | 02:48 | It makes all your subtools separate from
each other, kind of like those exploded
| | 02:52 | schematic diagrams of
machinery you may have seen.
| | 02:55 | You turn on Expose by hitting Shift+X,
and you turn it off the same way,
| | 03:01 | Shift+X. This is useful to get a
quick sense of what all the subtools are,
| | 03:07 | especially if some of them are hard to
see and hidden underneath other subtools.
| | 03:11 | Although these functions may not be
critical to getting work done, they can be
| | 03:15 | very helpful while you work.
| | 03:16 | When your models get complicated,
every trick you can use to keep things
| | 03:20 | simple is a big help.
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|
|
2. Creating MeshesUnderstanding polygon-based models| 00:00 | In ZBrush, as well as many other 3D
programs, polygons and vertices are the basic
| | 00:05 | building blocks of models.
| | 00:07 | Models made up of
polygons are called polymeshes.
| | 00:10 | Understanding what they are and how
ZBrush deals with them will help you make
| | 00:13 | sense of ZBrush's workflow.
| | 00:15 | Let's double-click on the
Dog project to open this up.
| | 00:17 | So one thing I want to do is make the
polygons that make up this mesh really clear,
| | 00:23 | so I'm going to hit Shift+F. This
turns on a mode called PolyFrame.
| | 00:26 | It just makes it really easy to
see where the edges of polygons are.
| | 00:30 | Now if I go in to do any sculpting on
this model, what you can see really easily
| | 00:37 | is that the brush is only affecting
the vertices, and the vertices are the
| | 00:41 | corners of polygons.
| | 00:43 | So you can see that everywhere I move
the brush, each vertex is highlighted,
| | 00:47 | and right now the polygon mesh doesn't really
have enough density to make any fine details,
| | 00:52 | so it's just making these
very big, crude, lumpy changes.
| | 00:56 | If I want to sculpt finer details
into this, I need a more dense mesh.
| | 01:01 | So let's open up the Geometry sub-
palette and click on Divide a few times.
| | 01:06 | I'm just going to click three times.
| | 01:09 | I also want to refresh the PolyFrame view,
| | 01:11 | so I'm going to hit Shift+F to turn it off
and then hit it again to turn it back on again.
| | 01:15 | So what you can see is there is a
lot more polygons, a lot more vertices
| | 01:19 | making up this model.
| | 01:20 | So if I want to sculpt any fine details,
it's now possible because there is a
| | 01:24 | lot more geometry to work with.
| | 01:26 | I'll go over subdivision levels and
dividing a model more in later movies.
| | 01:32 | I just want to make sure that the
concept of polygons and vertices was clear.
| | 01:36 | Because of the fact that polygons and
vertices are the core building blocks in
| | 01:39 | ZBrush, you'll need to understand
how they work in order to really take
| | 01:42 | advantage of all that ZBrush has to offer.
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| Creating ZSpheres| 00:00 | ZSpheres offer a quick way
to construct simple shapes.
| | 00:04 | You can then convert these shapes into
polygons in order to sculpt and edit them further.
| | 00:08 | I just want to get Light
Box out of the way first.
| | 00:10 | I'm just going to click on
this button and close it.
| | 00:12 | So the way you can make a ZSphere is go
over here in the toolbox and just click
| | 00:16 | on ZSphere, and nothing happens at first.
| | 00:18 | It's just like loading up a Ztool.
| | 00:19 | You actually have to click
and drag in here to open it up.
| | 00:23 | So what is this strange ball floating in space?
| | 00:26 | Well, it's really nothing all by itself.
| | 00:28 | In order to really use it, you have to
make other ZSpheres attached to it and
| | 00:32 | form them into shapes.
| | 00:35 | So to add more ZSpheres to this
ZSphere, we want to go into Edit mode.
| | 00:40 | Now you can see if you move the
cursor over the ZSphere, it kind of makes a
| | 00:44 | little spot where a new
ZSphere is going to be created.
| | 00:47 | So if you click and drag on here,
you're going to make a new sphere.
| | 00:50 | We can also move this ZSphere around and
reposition it by clicking on the Move button.
| | 00:56 | Now that we're in Move mode, you just click
and drag, and the new ZSphere gets moved around.
| | 01:02 | Going back into Draw mode, we can
either add new ZSpheres or we can delete
| | 01:05 | ones that we don't want.
| | 01:07 | So if you hold down Alt and
click on a ZSphere, it'll go away.
| | 01:11 | So let's use symmetry to
make a crude stick-figure man.
| | 01:14 | So I'm going to turn on symmetry by
hitting X. So now you see wherever you move
| | 01:19 | the mouse, you get two points.
| | 01:20 | We'll move it just a little
bit so we can see that easier.
| | 01:23 | So there is symmetry turned on,
and we're going to grow two new ZSpheres out of
| | 01:27 | here, instead of just one. So if you
click and drag, you see two are created.
| | 01:31 | If you go into Move mode now and move
some down for legs, and let's go back
| | 01:37 | into Draw mode and we'll make the lower
half of the legs. And we can go into
| | 01:42 | Move mode again and grab
these and pull them down.
| | 01:45 | Now what happens sometimes is that
moving one ZSphere will also move others that
| | 01:50 | are connected to it,
| | 01:51 | so you might have to do a little bit
of adjusting back and forth to get them
| | 01:54 | where you want them to be.
| | 01:56 | Switching back into Draw mode, we can
make another ZSphere at the top of the
| | 01:59 | pelvis that will go up and be the chest.
| | 02:02 | And also what you can see is when you
move the cursor close to the center line,
| | 02:07 | those two points snap into one.
| | 02:09 | So instead of creating two new ZSpheres,
it's just going to make one right in the center.
| | 02:13 | So let's just click and grow one new one
out and sort of move this up to the chest.
| | 02:18 | Now, let's make some arms.
| | 02:21 | Going back into Draw mode, let's make
two shoulders here, and we'll just go into
| | 02:25 | Move mode again and pull out the arms.
| | 02:28 | When you're in Draw mode, you can also
insert new ZSpheres in between two existing ones.
| | 02:32 | So if you just click anywhere in
between, you'll make a new ZSphere, and going
| | 02:36 | back into Move mode, you can reposition it
independently just like you could any other ZSphere.
| | 02:41 | Now let's make a neck
just like we made the torso.
| | 02:44 | So clicking in this middle ZSphere right
here, we can grow out a neck, and let's
| | 02:48 | just move it up a little bit.
| | 02:53 | And to top it off, I'm going to make a head.
| | 02:55 | So growing one more here, and in the
Move mode, let's move it up a little bit,
| | 02:59 | and let's say I want to make
it a little bit bigger, too.
| | 03:01 | So if you go into Scale mode, you can
shrink them or grow them a little bit bigger.
| | 03:07 | If you want to practice some more,
you can go ahead and make some feet and
| | 03:09 | fingers and toes in exact same way
we've made everything else so far.
| | 03:13 | When you are happy with your crude
figure, you can convert it to polygons.
| | 03:16 | I'm going to hit F here just so we
can zoom out and see the entire figure.
| | 03:20 | If you hit the A key, what it's going
to do is show a quick preview of what the
| | 03:25 | polygon mesh would look like when
it's converted from the ZSpheres.
| | 03:30 | In order to actually use this as a
polygonal model now, we need to use something
| | 03:35 | that's called adaptive skin,
and simply this is just going to wrap a polygon
| | 03:38 | mesh around the ZSpheres that we've made.
| | 03:41 | So I'll go down into Adaptive Skin here
in your sub-palette and let's open this up.
| | 03:46 | You don't have to worry
about any of these settings;
| | 03:47 | they actually work very
good just the way they are.
| | 03:50 | I'm just going to click Adaptive Skin here.
| | 03:52 | Now it doesn't look like anything
really happened, but what it's done is
| | 03:56 | it's created a new model up here at the top
of the Tool palette right here in our toolbox.
| | 04:00 | It's called Skin_ZSphere_1.
| | 04:03 | So if you just click on this,
now we have this new model here.
| | 04:06 | It's a polygon model and we can sculpt
on it and treat it just like we would
| | 04:10 | any other model in ZBrush.
| | 04:12 | You'll use ZSpheres when you want
to start a new model from scratch.
| | 04:15 | Since it's a fast way to build a simple
structure, it can then be converted to
| | 04:19 | polygons and edited further.
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| Using ShadowBox| 00:00 | Like ZSpheres, ShadowBox is a way to
get a rough start going so that you can
| | 00:04 | continue to modify it later.
| | 00:06 | Once you learn how it works, you will
find yourself using it to start all kinds
| | 00:09 | of mechanical or rigid shapes.
| | 00:11 | To start using ShadowBox, we just
open up the built-in ShadowBox tool.
| | 00:16 | So down here in the Light Box, let's
click on tool and then click on ShadowBox128.
| | 00:22 | Then click and draw out in the canvas.
| | 00:25 | We will also just want to go into
Edit mode here so we can work on it.
| | 00:28 | So, what we have here is a box with three sides.
| | 00:31 | You can draw anything you want
into these panels with masks.
| | 00:34 | The way that you start drawing in the
ShadowBox is by holding down Ctrl and
| | 00:39 | then click and drag.
| | 00:40 | So, what this is going to do, it's going
to paint some shapes into here, and then
| | 00:44 | it generates a three-dimensional object
based on the 2D drawings that you make
| | 00:47 | on any sides of this box.
| | 00:49 | So, we have got one shape here, and
we can also change the depth of it by
| | 00:53 | drawing in the right side.
| | 00:54 | So, I am just going to hold down Ctrl, and you
can keep adding to whatever it is that you draw.
| | 01:00 | So now, we have also generated a view
form the right side and that's creating a
| | 01:04 | 3D shape with these two
drawings combined into one.
| | 01:08 | You can also erase a
drawing by holding down Ctrl+Alt.
| | 01:12 | This is like an eraser:
| | 01:13 | it just cuts away at any
drawing that you have already done.
| | 01:17 | And just to finish things off, let's
make a little drawing here in the bottom
| | 01:19 | view, holding down Ctrl and painting.
| | 01:22 | And you can see, it's made this really
complex shape that would be really hard
| | 01:27 | to make out of ZSpheres.
| | 01:28 | So, it's a completely different
way of constructing a 3D object.
| | 01:32 | Something to keep in mind is that
ShadowBox creates rough, imprecise shapes.
| | 01:37 | Don't expect to make highly
detailed or accurate models here.
| | 01:40 | Use a ShadowBox as a way to get basic shapes
going that you can then continue to modify.
| | 01:44 | When you are done making your 3D
objects, simply click on the highlighted
| | 01:50 | ShadowBox button in the SubTool palette.
| | 01:53 | So, here we have got ShadowBox.
| | 01:55 | It's already active.
| | 01:56 | You just click on this and it turns off
the box and just leaves us with this 3D
| | 02:00 | model, and now you could work on
this just like it was any other model by
| | 02:04 | sculpting on it or making
any other modifications to it.
| | 02:07 | So, as one of the many ways to
create a polymesh in ZBrush, ShadowBox is
| | 02:11 | good for certain types of shapes,
especially ones that are difficult to make
| | 02:14 | with ZSpheres.
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| Making a ZSketch| 00:00 | ZSketch is yet another way to flesh out new
shapes that can then be converted to polymeshes.
| | 00:06 | Of all the methods mentioned so far, it
may be the most appealing technique for
| | 00:10 | traditional artists,
because of its freeform nature--
| | 00:13 | by this I mean the ability to
simply draw shapes directly into 3D space.
| | 00:18 | ZSketch is a way of quickly
drawing 3D volumes out in strokes.
| | 00:22 | It works on top of existing ZSpheres.
| | 00:25 | Let's start with how to
create them on the ZSphere.
| | 00:27 | So if I go over to my Tool palette,
I am just going to click on the ZSphere and
| | 00:31 | click and drag that out into the canvas.
| | 00:33 | We will also go into Edit mode and turn
off Light Box because it's just in the way.
| | 00:38 | To start with ZSketch, we just want
to go down to the ZSketch sub-palette.
| | 00:42 | So, down here it opens up, and there
are several different options, but the
| | 00:45 | only one you really need to be worried
about is EditSketch, and this just turn
| | 00:49 | on ZSketching mode.
| | 00:50 | So, you can see that the
ZSphere has changed color.
| | 00:54 | It's one solid color now. And also our
Brush palette up here has changed, so
| | 00:59 | it's no longer the
traditional sculpting brushes.
| | 01:02 | It is now a ZSketch brush.
| | 01:05 | So the way this works is just by
simply clicking and dragging and creating
| | 01:09 | strokes on the ZSphere, and what it does is
it creates a chain of ZSpheres in 3D space.
| | 01:16 | And you can just move this around any
direction you want and click and drag and
| | 01:19 | creates new objects. And you can also
change the size of your brush and create
| | 01:24 | smaller and finer details.
| | 01:26 | So, you can make some kind of weird
like creature or worm or something.
| | 01:30 | If you hold down Alt while you stroke,
you can delete these ZSketches as well.
| | 01:37 | If you hold down Shift as you stroke,
it will kind of smooth them out and
| | 01:41 | combine them together into a
little bit more of a smoother shape.
| | 01:44 | As you work on your ZSketch, you can
get a preview of what it's going to look
| | 01:47 | like when it's converted to a polymesh.
| | 01:50 | Press the A key on the keyboard to see
what that preview looks like and then
| | 01:55 | hit A again to go back to ZSketching.
| | 01:58 | So, when you are happy with the
shape you have created, we can convert it
| | 02:01 | permanently into a polygon object.
| | 02:04 | So the way we do that is we are going
to open up the Unified Skin sub-palette
| | 02:07 | here and just hit Make Unified Skin.
| | 02:11 | It doesn't look like anything has happened,
but up here in the toolbox, there is a
| | 02:14 | new tool that's been
created called Skin_ZSphere_1.
| | 02:18 | And so this is just the model that
we were working on, but in polygon form.
| | 02:22 | So you could sculpt on this and work
on it just like any other polygon mesh.
| | 02:29 | ZSketching is another option when you
want to create new shapes and forms.
| | 02:32 | It offers a loose way to flesh out
shapes but at the expense of any kind
| | 02:36 | of detailed accuracy.
| | 02:38 | It's also really useful to have a
pressure-sensitive tablet while you are
| | 02:41 | working because then you can get a
more artistic result with the levels of
| | 02:45 | pressure sensitivity.
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| Extracting from an existing mesh| 00:00 | Sometimes you may want to use part of an
existing mesh to create new models or accessories.
| | 00:05 | ZBrush's Extract function can take
any part of your mesh and make new
| | 00:09 | polymeshes out of them.
| | 00:12 | Let's open up one of the heads that
comes with ZBrush and click on the tool here
| | 00:16 | and then double-click DemoHead.
| | 00:17 | I am just going to click and drag to create a
copy of this and hit Edit to go into Edit mode.
| | 00:23 | Now Extract works on a masked-off
selection. So what we need to do is draw a
| | 00:28 | selection on the head, and that's
going to be what ZBrush extracts into a
| | 00:32 | separate piece of geometry.
| | 00:34 | So, I just want to shrink my brush a little
bit to make a finer detailed drawing here.
| | 00:40 | And if you hold down Ctrl and click and
drag, what you get is a mask or a selection.
| | 00:45 | Whatever you are painting, this
is what ZBrush is going to extract.
| | 00:48 | So, you can really make anything you want here.
| | 00:51 | I am going to make a Mexican wrestler, luchador.
| | 00:55 | When you are happy with the selection
you have made, you can go into the Subtool
| | 01:01 | sub-palette and look at the Extract options.
| | 01:04 | There all the way down here at the
bottom. We've got the Extract button that
| | 01:07 | actually creates the extraction, and then
there are some settings here that don't
| | 01:10 | make a lot of sense,
but let me go over how they work.
| | 01:12 | E Smt stands for Edge Smoothing.
| | 01:16 | This is the amount of smoothing that
will help round out the border of the mask.
| | 01:19 | Sometimes it gets a little bit rough
and ZBrush can smooth that up for you.
| | 01:23 | The second is S Smt, which
stands for Surface Smoothing.
| | 01:28 | This will basically apply a
smooth to the entire surface.
| | 01:31 | I like to turn this one off so that I
can manually smooth anything that needs it,
| | 01:35 | rather that letting ZBrush do it for me.
| | 01:37 | So I am going to drag this one down
to zero, so it doesn't do anything.
| | 01:41 | The last setting is Thickness.
| | 01:44 | This will take the
extracted geometry and puff it out.
| | 01:47 | If you set it to zero, there
will be no thickness at all.
| | 01:50 | If you set it to a negative number,
thickness will be added to the backside of the mask.
| | 01:54 | All right, let's see how it
works with these settings.
| | 01:56 | I am just going to click Extract here.
| | 01:59 | Now, what it's done is created a new
model based off the shape that would be
| | 02:02 | painted on the face, and you can
see it has created a new subtool here.
| | 02:07 | I will talk about subtools in
different video, but for now, I just want to
| | 02:10 | click on the mask that was
created, and we will take a look at this.
| | 02:14 | So, it made a little bit of thickness
but not much that we can really see, so we
| | 02:17 | can delete this and start over with
some different settings until we get a
| | 02:21 | result that we are happy with.
| | 02:22 | So, I am just going to hit Delete
here in the Subtool sub-palette and then
| | 02:28 | just say Yes, or OK.
| | 02:29 | Now, let's make sure we have got our
head selected again, and let's go back
| | 02:34 | down to the bottom.
| | 02:36 | I just want to make it a little bit
thicker, make it a little bit more
| | 02:38 | obvious what's happened.
| | 02:39 | So, let's raise this Thickness up to
about 0.1 and then click Extract again.
| | 02:44 | All right, so yeah, we can see the
effects a little bit more clearly now.
| | 02:47 | There is actually some thickness.
| | 02:48 | It looks more like a believable mask
that you would actually see in real life.
| | 02:51 | Now let me go up and make sure
we have got the mask selected.
| | 02:54 | I am going to click on it here.
| | 02:56 | Now, there is one bug with extracting.
| | 02:59 | The extracted piece keeps the selection that
was originally painted and locks it in place.
| | 03:04 | The problem is that ZBrush doesn't show
you that anything is selected, so if you
| | 03:08 | try to move the mask,
only a part of it will move.
| | 03:11 | So, let's see how that works.
| | 03:13 | I am going to go over how to use these
Move controls in a later video, but for
| | 03:17 | now just notice how it's not grabbing
the entire mask when I try to move it.
| | 03:21 | So, what we need to do is clear any
selection that we have made to this mask, so
| | 03:27 | I am just going to hit
Ctrl+Z key to undo that movement.
| | 03:29 | And the way to clear the selection
is Ctrl+Shift+A. And you don't see any
| | 03:34 | change, but it got rid of the
invisible mask that was on this.
| | 03:39 | So now that we go to move it, you can
see that it's actually moving the entire
| | 03:42 | mask. And if you go back into Draw mode,
you can edit this mask just like any
| | 03:49 | other piece of geometry now.
| | 03:50 | You will find yourself Extract as a
quick way to make clothing, armor, and other
| | 03:56 | objects that that can be based
on the shape of an existing model.
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| Using primitive 3D meshes| 00:00 | Another way to create basic
geometry in ZBrush is through primitives.
| | 00:04 | Primitives are simple objects like cubes,
spheres, and cones that you can start
| | 00:08 | with, rather than having
to model them from scratch.
| | 00:11 | ZBrush also gives you the ability to
modify the attributes of primitives to
| | 00:16 | create a wide variety of starting shapes.
| | 00:18 | Primitives are created from the toolbox.
| | 00:21 | Start by clicking on the
Sphere3D up in the toolbox.
| | 00:25 | Sphere3D is one of the primitives, but
to see the others just click on Sphere
| | 00:29 | again and you'll see this 3D meshes palette.
| | 00:33 | You can see there's standard
objects like cubes, cylinders, and rings.
| | 00:36 | There are also a few more
exotic things like terrain and gears.
| | 00:39 | I am going to pick Helix3D and just
click and drag in the canvas to create it
| | 00:45 | and then go into Edit mode.
| | 00:46 | So you can see what we have
here is kind of a spring object.
| | 00:51 | There's lots of ways to modify
this helix before we sculpt on it.
| | 00:54 | All of the primitives can
have their attributes set in the
| | 00:57 | Initialize sub-palette.
| | 00:58 | So down here is Initialize.
| | 01:00 | I am just going to click and expand that.
| | 01:02 | These settings control all of the
math that goes into making this helix.
| | 01:06 | Various controls for shape, length,
thickness, and curvature of this helix are
| | 01:10 | all here for us to modify.
| | 01:12 | So let's say I want to
change the thickness of this.
| | 01:15 | So I am going to click on Thickness,
and what we get is a graph that pops up.
| | 01:19 | You can change the points on this graph to
change how the shape of the helix is made.
| | 01:25 | So just by dragging these around, you can
make one end thicker or thinner, and if
| | 01:29 | you grab the other end, you can
make that end thicker or thinner.
| | 01:32 | It's really fun to play with.
| | 01:35 | You can also click in the middle
of this line to create new dots.
| | 01:38 | So you can make thin on both
ends and thick in the middle.
| | 01:41 | You can also remove dots by
dragging them off the graph.
| | 01:48 | Most primitives also have controls that
affect how many polygons make up the surface.
| | 01:52 | So let me move this down a
little bit so we can see the bottom.
| | 01:54 | Here's SDivide and LDivide.
| | 01:56 | Let me zoom in a little bit, so we
can see the effect more clearly.
| | 02:01 | So SDivide changes the number of
polygons that make up the circumference of
| | 02:07 | the helix, and LDivide changes the number of
polygons that are down the length of the helix.
| | 02:13 | There's really no set number
of polygons that you should use.
| | 02:17 | It really comes down to your preference
of how dense you need this helix to be.
| | 02:22 | Experiment with all the different
graphs and sliders to see what kind of
| | 02:25 | results you can get.
| | 02:26 | Each primitive has its own controls
and settings that you can work with.
| | 02:29 | Now I could go through every single
primitive and show you how every single
| | 02:33 | control works, but really it'll be more
fun for you to just play with them all
| | 02:36 | and learn through experience how they work.
| | 02:39 | When you're happy with how a primitive
looks and you want to be able to sculpt
| | 02:42 | on it, you need to convert it to a polymesh.
| | 02:45 | As it is, a primitive is a set of
mathematical instructions that can't be sculpted on.
| | 02:50 | So the way to make it a polygon mesh is up here
in the top of the Tool palette, Make PolyMesh3D.
| | 02:55 | When you click on that, it just
creates a new tool that is now raw polygons
| | 03:02 | instead of mathematical
instructions, and this can be sculpted on.
| | 03:08 | You'll find yourself using
primitives to start all kinds of models.
| | 03:12 | If the shape you need can be created
based on the different shapes you can get
| | 03:15 | through primitives, you'll save time by
making it this way rather than trying to
| | 03:19 | build it from ZSpheres or ZSketching
or some other more organic method.
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| Importing from other programs| 00:00 | In addition to creating new geometry in
ZBrush from scratch, you can also import
| | 00:05 | polygonal models into
ZBrush from other programs.
| | 00:08 | This allows you to add detail and textures
to models that have already been created.
| | 00:12 | ZBrush can import two
formats of models: OBJ and MA.
| | 00:17 | First, I'll talk about OBJs, or object files.
| | 00:21 | Almost all 3D programs can export
OBJ files, as it's a very common format.
| | 00:26 | MA file stands for Maya ASCII.
| | 00:30 | It's simply a 3D format
that Autodesk Maya can export.
| | 00:33 | There's not usually a
reason to use it over OBJs.
| | 00:37 | When making models to import to ZBrush,
you should make sure that they're made up
| | 00:41 | of four-sided polygons whenever possible.
| | 00:44 | ZBrush can import three- and five-sided
polygons, but it may result in problems later on,
| | 00:48 | so try to import models that are made
entirely, or mostly, four-sided polygons.
| | 00:53 | So let's just import a
model that I have already made.
| | 00:57 | Click on the Import button under the Tool
palette and find the hank.obj and click Open.
| | 01:04 | Let's click and drag this
into our canvas and click Edit.
| | 01:08 | Now that the model is imported, we
can work on it just like any other.
| | 01:12 | You can sculpt on it, make changes to it,
just like any mesh that you've made in ZBrush.
| | 01:17 | Oftentimes, you'll want to model a mesh in
one program and then just use ZBrush for
| | 01:21 | detailing or texturing.
| | 01:23 | Importing an OBJ or MA file
is a simple way to do that.
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|
|
3. Brushes and SculptingUnderstanding brush settings| 00:00 | Brushes are the things that you've
used to sculpt and color your model.
| | 00:04 | They come in many varieties,
but they all have some settings in common.
| | 00:08 | Let's open up the DemoDog to
have something to work with.
| | 00:14 | So, for example, the size of the
brush is shown on screen by the bigger red
| | 00:19 | circle around the cursor.
| | 00:20 | This is something that
all brushes have in common.
| | 00:23 | You can change the size of the brush by
moving the slider that says Draw Size.
| | 00:30 | You can also use the left and right
brackets on the keyboard to grow and shrink
| | 00:34 | the brush size, but only if
you're on a PC; sorry Mac people.
| | 00:37 | The smaller red circle around the
cursor is called the focal shift.
| | 00:41 | Put simply, it defines what
kind of falloff the brush has.
| | 00:45 | If the inner circle is small, the effect
of the brush is concentrated in the middle.
| | 00:49 | So I can make it really small.
| | 00:53 | You can see that most of the effect of
the brush is happening in the middle.
| | 00:56 | If I make it very large, then the
effect of the brush is going to be spread out
| | 01:01 | over most of the area of the brush.
| | 01:03 | I actually don't change this
very often from the default.
| | 01:07 | Right in the middle usually
works good for most situations.
| | 01:11 | All brushes also have an intensity--
| | 01:13 | the higher the number, the more
pronounced the effect will be when you sculpt.
| | 01:16 | So right here if I crank up the
Intensity, you're going to get a really heavy,
| | 01:21 | pronounced effect from this brush.
| | 01:22 | Let me just undo that with Ctrl+Z, and now
let me show you if I bring it down really low,
| | 01:28 | you can barely even see that effect.
| | 01:30 | It's more useful if you want
to make very subtle changes.
| | 01:34 | There's also a huge variety of brush
types that do all kinds of things to the
| | 01:38 | surface of the model.
| | 01:39 | They can be selected by clicking on
the default brush called Standard, up
| | 01:42 | here on the left side.
| | 01:45 | Then you can click on any of
the others to test them out.
| | 01:47 | Some of them are pretty intuitive;
others take some time before you really
| | 01:50 | understand what they do.
| | 01:51 | I'll talk about some of the more
important specific brushes in the later
| | 01:55 | movies of this chapter.
| | 01:57 | A quick way to access brushes
is by pressing B on the keyboard.
| | 02:01 | This brings up the Brush palette.
| | 02:03 | If you're looking for a specific brush,
just press the first letter of its name.
| | 02:07 | For example, I am looking for the
Inflate brush, so I'll press I. Now, we see
| | 02:12 | only the brushes that begin with the
letter I. Each brush also has an orange
| | 02:17 | letter next to the icon.
| | 02:18 | You can see that Inflate has the letter N,
| | 02:21 | so press N to select the Inflate brush.
| | 02:24 | Each brush can be quickly chosen if
you remember its keyboard combination.
| | 02:28 | Anytime you want the Standard brush,
for example, quickly type B+S+T and it
| | 02:33 | will be made active.
| | 02:34 | Take a moment to experiment with
these settings and get a feel for how they
| | 02:37 | affect the surface of the model.
| | 02:39 | These features are some of the most
common controls that you'll be using in ZBrush,
| | 02:43 | so make sure you get comfortable with them.
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| Inverting brush effects| 00:00 | Many brushes have the effect of pulling
out or building up thickness on a model.
| | 00:05 | For those brushes you can quickly
switch to Subtractive mode that will push in
| | 00:09 | or remove shape from the model.
| | 00:11 | So let's go open up the SuperAverageMan.
| | 00:13 | Now, if I zoom in, I can give you just
quick demonstration of the standard way
| | 00:19 | that the brush is used.
| | 00:20 | You can see it's pulling out on the model.
| | 00:22 | There are two ways to switch a
brush into Inverted or Subtract mode.
| | 00:27 | The first way is to change the brush
from Zadd to Zsub up here at the top bar.
| | 00:31 | So right now it's on Zadd.
We'll just hit Zsub instead.
| | 00:34 | Now you can see when I stroke, the
effect is inverted. It's pushing in.
| | 00:38 | Let's put it back on Zadd.
| | 00:41 | A faster way to do it that I prefer is just
to hold down the Alt key while you stroke.
| | 00:46 | So now I am holding down
Alt and it's pushing in.
| | 00:50 | If I release Alt, it goes
back to additive sculpting.
| | 00:53 | One of the nice things about ZBrush is
that most of the keyboard controls are
| | 00:57 | clustered around the Shift, Ctrl,
and Alt keys, making it easy to access this and
| | 01:02 | many more keyboard functions.
| | 01:03 | You'll use that Alt key all the time
to remove volume from your model as
| | 01:07 | you sculpt.
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| Switching to Smooth mode| 00:00 | One of the most common brushes that
you'll use is the Smooth brush. Because
| | 00:04 | of that, ZBrush has been optimized to make
Smooth one of the easiest brushes to access.
| | 00:09 | Let's open up the exercise file for this movie.
| | 00:11 | Go up to File > Open, in
Ch03, the smooth.ZPR file.
| | 00:16 | I just want to hide the Light Box so
it's out of the way. So it never fails;
| | 00:23 | you've sculpted some beautiful forms
on your model. But it's just too rough
| | 00:27 | looking. Not too worry, the
Smooth brush is there for you.
| | 00:30 | The Smooth brush behaves a little
differently from other brushes because you
| | 00:33 | can't just pick it from the
list and start stroking with it.
| | 00:36 | Click on the Brush button or hit B on
the keyboard to bring up the Brush palette
| | 00:39 | and I'll show you what I mean.
| | 00:40 | Now find the Smooth brush and click on it.
| | 00:43 | I'm going to hit S to narrow the selection.
| | 00:44 | It's right here Smooth B. Now when I
click on it I get this message, "The brush
| | 00:49 | will be selected as the sculpting smooth-brush.
| | 00:51 | Press the Shift key and then
click to use it." What is that mean?
| | 00:55 | Well, this brush behaves differently,
because you have to hold down Shift to use it.
| | 00:59 | So now that I've selected that Smooth
brush, I'm just going to hit Shift, and you
| | 01:03 | can see that the interface
changes now to the Smooth brush.
| | 01:06 | We see that there is the Smooth button
active up here, and then there is also
| | 01:09 | these settings have changed to
reflect the settings of the smooth brush.
| | 01:13 | If I release Shift, it goes
back to the standard brush.
| | 01:16 | Now hold down Shift as you brush
on the model and see what happens.
| | 01:19 | It just smoothes out any rough areas.
| | 01:25 | Now there are several different types
of smooth brushes to choose from, but to
| | 01:29 | be honest, I rarely find a use for them, as
the basic smooth brush works great for me.
| | 01:34 | The only one that I might use on a
regular basis is SmoothDirectional, which
| | 01:38 | will preserve detail that runs in the
same direction as the stroke, and it will
| | 01:42 | smooth out other details.
| | 01:43 | So let me just demonstrate how that works.
| | 01:45 | I'm going to hit B to bring up the Brush
palette and hit S, and we see down here
| | 01:50 | E is SmoothDirectional.
| | 01:54 | Okay, so it's telling me I
have to hold down Shift to use it.
| | 01:57 | So if I go around to the back side of
this model and try to smooth out some of
| | 02:01 | this detail in the back side of the
head, you can see that as I hold down
| | 02:04 | Shift and I stroke, it's smoothing out
a lot of the stuff that's in the same
| | 02:08 | direction as the stroke.
| | 02:09 | Now let me just undo that and
smooth across the grain of the detail.
| | 02:14 | You see it's smoothing out of lot more of that.
| | 02:17 | So it preserves detail in the direction of
the stroke while smoothing out other detail.
| | 02:23 | Smooth is one of the most-used brushes
in ZBrush, because it cleans up rough
| | 02:27 | spots left behind by many of the other brushes.
| | 02:29 | Use it regularly any time you want to
remove detail from a part of your model.
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| Setting the stroke properties| 00:00 | The Stroke palette is another
way to change how a brush behaves.
| | 00:04 | You can alter various settings to get
different effects out of the brushes.
| | 00:07 | Let's open up the DemoRhino
to have something to work with.
| | 00:10 | I want to change its color a little bit
brighter because it's kind of hard to see right now.
| | 00:14 | Something else I want to do is
increase the subdivisions of the model.
| | 00:18 | This is going to give us more polygons
to work with, so we can see the effect of
| | 00:21 | the brushes more clearly.
| | 00:22 | I'm just going to open up Geometry
sub-palette here and click Divide about three times.
| | 00:27 | Let's also zoom in, get closer to the
action, rotate our view a little bit, so we
| | 00:31 | can see this wide-open space to paint on.
| | 00:35 | You access Stroke settings over here by
clicking on the Stroke button, and this pops up.
| | 00:41 | You can change things in here.
| | 00:42 | You can also change
things up in the Stroke menu.
| | 00:45 | What I want to do right now is dock the
Stroke menu on the palette on the right side.
| | 00:49 | The way to do that is by clicking on
this little circle arrow icon, and what
| | 00:54 | that does, it just locks it over here so
I don't have to open it up every time I
| | 00:57 | want to access this palette.
| | 00:58 | There are lots of settings and frankly,
it's more than you really need to worry about.
| | 01:04 | Let's just quickly run through
the essential Stroke options.
| | 01:07 | By default, it's on Dots,
which makes a basic stroke.
| | 01:09 | I just want to demonstrate.
| | 01:11 | I want to decrease the Draw Size a
little bit and I want to increase the
| | 01:15 | Intensity just to make things easier to see.
| | 01:16 | If I stroke with that, you just see
it's a basic stroke, nothing fancy.
| | 01:20 | Now, I'm going to undo this
and change the LazyStep settings.
| | 01:24 | Now LazyStep is over here.
| | 01:27 | Setting this to a higher number
spaces out the stamps more sparsely.
| | 01:30 | So let's just crank this all the way up to 2.
| | 01:34 | Now the effect you see is that each
stamp of the stroke has been spaced out so
| | 01:37 | you can see the individual stamps.
| | 01:39 | Now let's undo this, and let's
crank LazyStep all the way down.
| | 01:44 | What you see here is that the stamps
are so closely packed together that they
| | 01:47 | merge into one single stroke.
| | 01:49 | I'm just going to undo this,
and then we'll talk about DragRect.
| | 01:53 | Selecting DragRect puts us into a mode
where we drag out a single stamp of a
| | 01:59 | brush wherever you place it.
| | 02:01 | So I'm going to make the brush size a
little bit bigger to make this easier to
| | 02:04 | see, and now you just click and drag.
| | 02:06 | What you see is that you can drag out a
single stamp, and by moving the mouse up
| | 02:11 | and down, you can increase
or decrease the size of it.
| | 02:14 | It's locked into one place where you
can easily see a preview of what the
| | 02:17 | size is going to be.
| | 02:19 | When you release the
mouse, it's locked into place.
| | 02:21 | DragDot is similar in that it
creates the single stamp of the brush,
| | 02:28 | but this time the size is fixed
and the position moves as you drag.
| | 02:31 | So if I just click and drag, you can see we
get a preview of where the stamp is going to be.
| | 02:37 | The size is determined by
the Draw Size of the brush.
| | 02:40 | If I release the mouse, you
see it's locked into position.
| | 02:42 | Let me just undo these, and let's click on Spray.
| | 02:46 | Spray is fairly intuitive.
| | 02:48 | It scatters out stamps of
the brush as you stroke.
| | 02:51 | When selected, the Spray options are
activated so that you can adjust the
| | 02:54 | various randomizing functions.
| | 02:56 | I want to decrease the Draw Size to
make this easier to see, and I also want to
| | 03:00 | decrease the Intensity a little bit.
| | 03:02 | So the first thing I want
to talk about is Placement.
| | 03:05 | The higher the number you set for
placement, the farther from the stroke
| | 03:09 | each stamp can land.
| | 03:10 | So let's just get an example of this.
| | 03:11 | I want to crank Placement all the way up,
and let's see the result that we get.
| | 03:14 | Okay, so it's spraying out a whole bunch
of stamps, and they're falling a certain
| | 03:18 | distance away from the center of the stroke.
| | 03:20 | I'm just going to undo this, and now
let's see what happens if we bring
| | 03:24 | Placement fairly low down.
| | 03:26 | Now as I stroke, you can see that each
stamp is not falling so far away from the
| | 03:30 | center of the stroke.
| | 03:31 | I just want to reset Placement back up
high again, so that we can see the Flow
| | 03:37 | settings and how they work.
| | 03:39 | The Flow, the higher you set this,
the more dense the stamps get.
| | 03:42 | So if I set this fairly high and we come
out here and we stroke, we get a lot of
| | 03:48 | stamps for every second of stroking that we do.
| | 03:51 | If I hit Undo and bring Flow all the
way down--actually not all the way down,
| | 03:55 | but pretty low--the result you see is
that a lot fewer stamps come out for every
| | 04:00 | second of stroking that you do.
| | 04:01 | There is a lot more settings to play
with in this palette, but even as an
| | 04:06 | advanced user, I rarely change or use them.
| | 04:08 | You'd be able to make pretty much any
useful variation to your brush that you
| | 04:11 | need with the settings I've shown.
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| Working with alphas| 00:00 | First of all, let's talk about what an alpha is.
| | 00:03 | Alphas are used in all kinds of
computer graphics software and it's simply a
| | 00:07 | grayscale image, a picture that uses
a range of values from black to white.
| | 00:12 | What makes a grayscale image an alpha instead
of just an ordinary picture is how it's used.
| | 00:17 | Different softwares can interpret
these light and dark values as data rather
| | 00:20 | than as simply a picture.
| | 00:22 | An alpha could be used to define what
parts of an image should be transparent;
| | 00:26 | white could be opaque and black could
be see-through and every shade of gray
| | 00:30 | could be varying levels of opacity.
Or an alpha could be used to define what
| | 00:34 | parts of a model should be
shiny and which ones should be dull.
| | 00:37 | As far as ZBrush goes, alphas are used
to define what parts of a brushstroke
| | 00:42 | should get the full effect and
which parts should remain unaffected.
| | 00:47 | So let's just test this out.
| | 00:48 | I am going to open up the DemoRhino,
and let's change its color to something
| | 00:53 | lighter so it's easier to see.
| | 00:54 | I also want to make it more dense,
| | 00:57 | so let's go into Geometry and click
Divide a few times so that we have more
| | 01:01 | polygons to work with.
| | 01:02 | I just want to zoom in a little bit
so we can see everything up close.
| | 01:07 | Now, let's go over to the Alpha
button over here on the left side and
| | 01:12 | this palette pops up.
| | 01:14 | This is the set of built-in
alphas that comes with ZBrush.
| | 01:17 | Just for demonstration, I'll pick Alpha 17 here.
| | 01:20 | It's kind of a target-looking image.
| | 01:23 | So if we stroke on the model, you can
see that the strokes take on this kind of
| | 01:27 | target shape to them.
| | 01:28 | That's because the grayscale image is
telling the brush to be more pronounced in
| | 01:31 | the light areas and less so in the dark areas.
| | 01:36 | Let's just undo this.
| | 01:40 | So, alphas really show their potential
when the Stroke Style is set to DragRect.
| | 01:44 | Let's change this from Dots to DragRect.
| | 01:47 | Now we can place a single instance of
this alpha on the model wherever we want.
| | 01:52 | You can load in your own alphas that
you have made in other programs like
| | 01:55 | Photoshop through the Alpha palette.
| | 01:58 | Just click on the Alpha
button and down here at Import.
| | 02:01 | I'm going to scroll down to ZBrush, and inside of
this folder is a folder called ZAlphas.
| | 02:08 | Let's grab that Leathery Skin
image that we were looking at earlier.
| | 02:13 | So with this opened and we've got
DragRect, you can just click and drag.
| | 02:17 | We'll get this kind of
rough, organic, leathery texture.
| | 02:21 | Feel free to experiment with all the
different alphas and the way that they can
| | 02:24 | be combined with stroke styles
to create all kinds of fun effects.
| | 02:29 | You'll use alphas all the time to stamp
on detailed textures and patterns that
| | 02:32 | would be difficult to sculpt by hand.
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| Using the Move brush| 00:00 | One of the most common brushes that
you'll be using is the Move brush.
| | 00:04 | It grabs parts of your model and pulls
them around like they were made of rubber.
| | 00:08 | Let's open up the DemoDog, and to
demonstrate let's switch to the Move brush.
| | 00:12 | So I am going to go up here into
Standard and let's actually hit M so we isolate all
| | 00:16 | the brushes that begin with M.
| | 00:18 | So here is Move down here.
Let's pick this one.
| | 00:21 | If you want to know the keyboard shortcut,
that's B+M+B. So very simply, the Move
| | 00:25 | brush moves parts to the model.
| | 00:27 | Let's just click and drag to see the effect.
| | 00:29 | I will just zoom in a little bit here.
So you can see you can just move things
| | 00:33 | around, just grab them and pull them.
| | 00:35 | The size of the brush is crucial here
because the bigger the brush, the more
| | 00:39 | gets moved, and the smaller the brush, the
smaller the part of the model that gets moved.
| | 00:43 | So let's make this really big,
and you can see you can make really dramatic
| | 00:47 | changes to the overall size and
proportion of the model. If you go very small,
| | 00:51 | you see you can grab just
almost an individual polygon.
| | 00:56 | It's important to know that the
movement happens parallel to the viewing plane.
| | 00:59 | So be aware that when you're pulling
straight out to the side, you might be
| | 01:03 | pulling at an angle instead.
| | 01:05 | Let me show you what I mean.
| | 01:06 | I will make the brush a little big
bigger here and make this more obvious.
| | 01:09 | Let's say you want to pull
out the sides of the dog.
| | 01:12 | So you think you might be
pulling straight up to the side.
| | 01:14 | But if you look at it from the top,
you can see it's actually an angle.
| | 01:17 | So you just want to be careful.
| | 01:19 | When you think you're pulling out to the
side you might actually be pulling at an angle.
| | 01:22 | There are a few different types of Move brushes,
but the one I use most is Move Topological.
| | 01:28 | Now let's open this up, and let's go to
Move and hit M, and let's see Move Topological.
| | 01:35 | Its shortcut is B+M+G. Now, to demonstrate,
I'm going to go into the mouth area of this dog.
| | 01:41 | Now Move Topological is going to move
parts of the model, but wherever there is a
| | 01:46 | gap between parts of the
model it's not going to affect.
| | 01:49 | So you can see you can move the lower
part of the mouth down and it just barely
| | 01:53 | grabs a little bit of the sides of the
mouth. That's the pulling effect you can
| | 01:56 | see on the upper part of the mouth.
| | 01:58 | But really, it's going to leave the
upper part of the mouth mostly alone.
| | 02:00 | If you switch back to the regular
Move brush, B+M+B, and try to do the same
| | 02:06 | thing, you see you're
going to move everything along.
| | 02:10 | But if I switch back to B+M+G--and actually
let's shrink the brush just a little bit.
| | 02:14 | Okay, so now we get a nice clean
movement where the upper part of the mouth
| | 02:19 | is not affected at all because there is
gap between the lower jaw and the upper jaw.
| | 02:24 | Move is one of the most commonly used brushes.
| | 02:27 | Take advantage of it regularly to reposition,
reshape, and refine your model's structure.
| | 02:32 | Just be careful because moving a model
out too far can stretch out polygons, and
| | 02:36 | that makes them difficult to work with.
| | 02:38 | So if I were to just increase the
size of the brush, then pull this out
| | 02:42 | really far, you can see you're stretching
polygons, and that can cause problems later on.
| | 02:46 | So you don't want to
stretch out polygons too far,
| | 02:48 | but for small adjustments Move works great.
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| Using the Clip brush| 00:00 | The Clip brush doesn't really behave
like a brush at all so much as it cuts
| | 00:04 | holes and shapes into models.
| | 00:06 | It might be better to just
demonstrate since this brush is really better
| | 00:09 | experienced than explained.
| | 00:12 | Let's open up a project called
SSS Startup here in the Light Box.
| | 00:16 | It's just a sphere.
| | 00:18 | I am going to hit F to zoom in a
little closer on this. All right!
| | 00:21 | Let's go up to our Brush
palette and let's pick Clip Rectangle.
| | 00:26 | Now when we click on it,
we get this little thing.
| | 00:28 | It tells us that we have to use Ctrl
and Shift keys to use it. All right!
| | 00:32 | That's fine. So it looks like we are still in the
Standard brush, but we hold down Ctrl and
| | 00:36 | Shift and now we are in Clip Rectangle mode.
| | 00:38 | Now, just draw a box over a part of
the sphere and then release the mouse.
| | 00:44 | It chops the sphere down to
the shape of the clip rectangle.
| | 00:48 | You can see you get a nice,
clean, sharp edge here.
| | 00:51 | What's important to understand here is
that it hasn't actually cut off geometry.
| | 00:55 | What it did is it took all of the
polygons that were on the outside of the clip
| | 00:59 | rectangle and forced them up against
the geometry that was on the inside.
| | 01:03 | Let's just undo this.
| | 01:04 | There are other clip brushes like the
ClipCircle brush that do the exact same
| | 01:09 | thing except with a circular cutting shape.
| | 01:11 | Let's try that out.
| | 01:12 | I am going to click
ClipCircle and we get the same thing.
| | 01:16 | We have to use Ctrl and Shift to use this.
| | 01:18 | So we're just holding down Ctrl and Shift.
| | 01:20 | Let's draw out a circle.
| | 01:22 | Now this is a bug with ZBrush.
| | 01:23 | The first time you use a different
clipping brush like the ClipCircle it's going
| | 01:30 | to create a rectangle and then nothing
happens when you release. It's just a bug.
| | 01:34 | It just happens the first time.
| | 01:35 | Now if we go to do it a second time, we are
going to get actually what we wanted to get.
| | 01:40 | So you see we have cut a
circular edge out of the sphere.
| | 01:45 | Let's just undo this.
| | 01:46 | Now there is one more clip brush
called ClipCurve, and it behaves a
| | 01:50 | little differently.
| | 01:51 | To use this brush, you
start out just like the others.
| | 01:54 | Let's go on the Brush here and select
ClipCurve and as always, we have to use
| | 01:58 | Ctrl and Shift to activate this brush.
| | 02:02 | So we get the same bug like
before. It creates a rectangle.
| | 02:05 | We have to release Ctrl and Shift
and then hold them back down again.
| | 02:08 | Hopefully, Pixologic will fix this soon.
| | 02:11 | So as you click and drag,
you get this single line.
| | 02:15 | To make it a curve, you just tap the
Alt key and it creates a bend point
| | 02:20 | wherever you tap the Alt key at.
| | 02:21 | So I am just going to make another bend
point over here, and let's do another one here.
| | 02:26 | All right! When you are done, you just release
the mouse and it cuts it to a shape of the
| | 02:33 | curve that you made.
| | 02:35 | Now this one takes some
practice to get the results you want.
| | 02:38 | You see some weird things have
happened, and this is because it's forcing
| | 02:41 | polygons up against the curve that you've
made rather than actually cutting them off.
| | 02:47 | Clip brushes can be a quick way to get
a hard-edged subtraction from your model.
| | 02:51 | Be careful, however;
| | 02:52 | they may be a little unpredictable and
may not be able to give you the results
| | 02:56 | you were hoping for every time.
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| Learning a few more common brushes (Polish, Clay, Flatten, Inflate, Tracks)| 00:00 | There are many more brushes to
choose from, but most of them are either
| | 00:03 | variations on the ones I've shown, are
rarely used, or are fairly obvious and
| | 00:08 | don't require any training.
| | 00:10 | In this movie, I just want to hit on
a few more of the important brushes.
| | 00:13 | Let's open up the DemoRhino.
| | 00:16 | I also want to make it a little bit
brighter so that it's easier to see, and
| | 00:20 | also let's go into Geometry and hit
Divide a few times so that we have more
| | 00:23 | polygons to work with.
| | 00:24 | I am hitting F to zoom in a little closer.
| | 00:30 | Now let's talk about the Clay brush.
| | 00:32 | Clay is meant to mimic the effect of
roughly smearing more wet clay onto a sculpture.
| | 00:37 | The keyboard shortcut for that is B+C+A.
I also want to crank up the Intensity a
| | 00:42 | little bit, and let's shrink the brush.
| | 00:45 | So it's good for the early stages of
sculpting where you don't need a lot of precision,
| | 00:49 | you just want to get something roughed in.
| | 00:57 | The Polish brush is very handy
for sanding down rough spots.
| | 01:00 | The shortcut for that is B+P+0.
| | 01:02 | It very gradually eats away at parts of
the model that stick up, grinding them down
| | 01:08 | to a smooth surface.
| | 01:10 | I am going to raise the Intensity
just to make this easier to see.
| | 01:12 | So you can see it's flattening down,
making flat spots. It's really nice for working
| | 01:19 | out any rough areas.
| | 01:23 | Magnify is similar to the Standard brush,
| | 01:25 | but instead of just pulling straight
out, it also bulges outwards to the sides.
| | 01:30 | Shortcut for that is B+M+A. We have to crank
up the Intensity to really get the full effect.
| | 01:43 | Tracks is a brush that works best with an alpha.
| | 01:46 | The shortcut for that is B+T+1.
| | 01:48 | It repeats an image in the alpha
as the stroke goes over the surface.
| | 01:52 | You can replace the alpha with anything
you want. I almost had very good results
| | 01:57 | making foot tracks all over the ground
by making a footprint alpha and putting
| | 02:01 | it in the tracks 1 brush.
| | 02:05 | Now it's up to you to experiment and
just have fun with all the brushes.
| | 02:09 | Combine them with alphas, change the
stroke settings, and get a feel for how
| | 02:13 | they work.
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| Saving and using brush presets| 00:00 | You may find that you've modified a
bunch of brush settings and got a really
| | 00:04 | cool result that you'd like to keep.
| | 00:06 | Instead of memorizing how to set
it up, just save a Brush preset.
| | 00:11 | First, I'll go over how to
install a Brush preset you may have got
| | 00:14 | from somewhere else.
| | 00:15 | There are lots of people on the
Internet making brushes and giving them out.
| | 00:18 | Included in the exercise files is a
brush that I've made called the Crease brush.
| | 00:22 | In order to install it, first
make sure the ZBrush is closed.
| | 00:25 | Now open up the exercise files
and find the Crease brush files.
| | 00:29 | So here it is in Chapter 3. We've got
crease_icon, crease.ZBP and creasealpha.
| | 00:35 | I am just going to right-click and copy these.
| | 00:39 | Now we need to find the ZBrush program folder.
| | 00:45 | Inside there you're going to
find a folder called ZStartup.
| | 00:50 | Inside here is BrushPresets.
I am just going to right-click and paste.
| | 00:58 | The next time you start ZBrush, the
brush will be in the Brushes palette.
| | 01:02 | Let's open up a model, so we
can just experiment on it.
| | 01:05 | I am going to grab DefaultSphere.
| | 01:08 | Now, let's go up into the Brushes, and down
here you should be able to see the Crease brush.
| | 01:13 | All right! Let's try it out. It makes nice
tight creases with a really smooth falloff.
| | 01:21 | It's perfect for wrinkles and hard edges.
| | 01:23 | It's really nice if you hold down
Alt so you can push inwards as well.
The effect is really nice if you
subdivide the model a few times.
| | 01:31 | I am going to hit Ctrl+D twice,
and now let's see what type of result we get.
| | 01:36 | I am going to hold down Alt.
| | 01:37 | So you just get really nice crease;
| | 01:40 | it looks really organic.
| | 01:44 | It's really easy to save your own brush presets.
| | 01:47 | Any Stroke, Brush, and Alpha
settings that you may have set can be saved.
| | 01:51 | Go up to the Brush menu and click on Save.
| | 01:53 | Now you can save it anywhere you want.
| | 01:57 | It's probably helpful if you set it
in the ZBrush BrushPresets folder.
| | 02:01 | So if you go to ZBrush Program
folder and you find ZStartup and then
| | 02:06 | BrushPresets, you save it in this
folder, then it's automatically going to be
| | 02:10 | loaded up in the Brush palette.
| | 02:14 | Saving Brush presets is
a great way to save time.
| | 02:17 | It means that if you like a brush that
you've made, you don't have to reset all
| | 02:20 | of its controls every time you want to use it.
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|
|
4. Working with ToolsWorking with tools and projects| 00:00 | The 3D models that are the focus of
your work in ZBrush are called tools.
| | 00:05 | It's a little confusing why they would
be called tools, but it comes from the
| | 00:07 | fact that ZBrush was originally made
to draw 2D pictures by stamping out
| | 00:12 | copies of 3D models.
| | 00:14 | Now that the 3D models are the focus of
ZBrush, it doesn't make much sense anymore.
| | 00:18 | But that's progress for you.
| | 00:19 | Let's open up a tool to understand it better.
| | 00:21 | Go down into the Light Box and
open up the DemoSoldier project.
| | 00:26 | We see in the Tool palette that
this model is the active tool.
| | 00:30 | When opening tools, you have to click
and drag them out into the canvas and then
| | 00:33 | put them into Edit mode.
| | 00:36 | When you want to save your work make sure
that you save the tool, not the document.
| | 00:40 | Some people might go up to the
Document menu here and save it through here,
| | 00:44 | but if you do that, you'll actually
just save it to the image of the model rather
| | 00:48 | than the model itself.
| | 00:49 | To save properly, use the Save As button in
the Tool palette over here on the right side.
| | 00:55 | Tools are saved in the ZTL format.
| | 00:58 | A new feature with ZBrush 4 is projects.
| | 01:01 | Let's go into the Light
Box and open up a project.
| | 01:08 | Notice that it just pops up
without having to click and drag it out.
| | 01:13 | Projects are the same thing as
tools, but with the addition of saving
| | 01:16 | document size, camera position, materials,
colors, and other attributes along with the model.
| | 01:21 | This saves you the effort of having to redo
all those things every time you open a tool.
| | 01:25 | It even saves whether or not a tool is in Edit
mode, so you don't have to turn it on every time.
| | 01:30 | To save and load as a project, go up to
the File menu and click Open or Save As.
| | 01:35 | Projects are saved in the ZPR format.
| | 01:40 | To recap, tools are the main way
to work with 3D models in ZBrush.
| | 01:44 | It's up to your preference
whether you save as tools or projects.
| | 01:47 | I prefer to use projects because of
the additional settings that get saved
| | 01:50 | along with them.
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| Working with subdivision levels| 00:00 | Subdivision is a central feature of
ZBrush that allows you to sculpt intricate
| | 00:04 | detail on your models.
| | 00:06 | It breaks down a polygon mesh
into smaller and smaller polygons.
| | 00:09 | Depending on your computer's resources, you
can have millions of polygons in a single model.
| | 00:15 | Let's open up the SuperAverageMan project.
| | 00:18 | So I just want to go into
the Geometry sub-palette.
| | 00:21 | We can look at all of our
subdivision settings here.
| | 00:23 | As it is, this model already
has two subdivision levels.
| | 00:26 | We can just grab the slider to go through them.
| | 00:29 | You see that one is lower density
and the other is a little bit higher.
| | 00:34 | It's actually four times as dense.
| | 00:37 | You can also move up and down through your
subdivision levels without going to this palette.
| | 00:42 | You can just hit Shift+D to go down or
just hit D to go up a subdivision level.
| | 00:49 | Sometimes it can be helpful to turn on
PolyFrame to see your polygons more easily.
| | 00:53 | Hit Shift+F to turn that on.
| | 00:55 | So now if I go down a subdivision
level, you can see that more clearly.
| | 00:59 | I am going to turn PolyFrame off now,
| | 01:02 | Shift+F. The detail that you sculpt on a
model can only be as fine as the mesh is dense.
| | 01:08 | If I zoom in and sculpt, you see that
we're just pushing big polygons around--
| | 01:12 | not much fine control here.
| | 01:14 | I am going to increase the subdivision
level to the highest one. Now, we'll
| | 01:19 | create even more
subdivision levels by clicking Divide.
| | 01:23 | Each time we do this it splits every
polygon into four smaller polygons.
| | 01:29 | Now that the mesh is much more
dense, we can sculpt finer details.
| | 01:32 | I am going to shrink the brush down
so that we have that finer control and
| | 01:35 | zoom in a little bit.
| | 01:42 | One of the great things about
subdivision levels is that you can sculpt fine
| | 01:45 | details in a high subdivision level
and then if you want to make really broad
| | 01:49 | sweeping changes, you can go down to a
lower subdivision level, change things,
| | 01:54 | and all of the fine details will
still be there when you subdivide again.
| | 01:57 | I am going to grab this and just drop all
the way down to the lowest subdivision level.
| | 02:01 | I want to increase my brush size and
just make some really big changes to the
| | 02:06 | shape of the body here.
| | 02:07 | I'll hit D a few times to go up
to the highest subdivision level.
| | 02:17 | Notice how all the fine detail is still
there, but it's conforming to the new shape.
| | 02:22 | If it turns out that you really don't
need as many subdivisions as you've made,
| | 02:26 | you can delete the higher ones.
| | 02:27 | So go to the highest subdivision
level that you want to keep, let's say 4
| | 02:31 | and you hit Del Higher.
| | 02:33 | This is just going to remove
the higher subdivision level.
| | 02:35 | You could always divide again to re-create it.
| | 02:38 | You can also delete lower subdivision levels.
| | 02:41 | So let's say the lowest one
that I want to keep is level 2.
| | 02:43 | If I hit Del Lower, now that is the
lowest subdivision level that we have.
| | 02:50 | The ability to make adjustments on any
level and have those changes update what
| | 02:54 | happens on other levels is one of
the most powerful features in ZBrush.
| | 02:58 | It gives you the freedom to make big
changes to a model on low levels without
| | 03:02 | losing detail on high levels.
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| Masking off parts of your model| 00:00 | Masks in ZBrush work like masking tape.
| | 00:03 | You put the mask in the areas that you
don't want to be affected by any editing.
| | 00:07 | By using masks, you protect parts
of the model from being changed.
| | 00:11 | Let's open up the
SuperAverageMan from the Spotlight.
| | 00:14 | I just want to zoom in more close on
the body so we can see what we're doing.
| | 00:18 | Now the way to go into Mask
mode is by holding down Ctrl.
| | 00:24 | You'll notice that the Brush
and the Stroke icons have changed.
| | 00:29 | While holding down Ctrl,
just simply brush on the model.
| | 00:33 | When the Mask is applied
it, darkens the polygons.
| | 00:35 | Now, if you release the Ctrl key and
sculpt with any brush, you'll notice that
| | 00:41 | the mask area is unaffected.
| | 00:43 | Let's just undo that.
| | 00:46 | Polygons can also be partially masked.
| | 00:49 | You can see as it is, some of the
polygons are darker than others.
| | 00:53 | The ones that are not quite as dark are
only partially masked and will receive
| | 00:56 | only a fraction of the effect from any edits.
| | 01:00 | You can make a mask blurrier by holding
down Ctrl and clicking once on the model.
| | 01:05 | This makes the mask effect much more gradual.
| | 01:08 | You can see if we sculpt on it, now we get a
much softer edge on the border of that mask.
| | 01:14 | You can also make a mask sharper by
holding down Ctrl+Alt and clicking.
| | 01:22 | You can invert a mask by holding Ctrl
and clicking on an open area of the canvas.
| | 01:29 | So now with the mask inverted, whenever
we sculpt, it's now going to affect the
| | 01:33 | unmasked area that used to be masked.
| | 01:39 | Hitting Ctrl+A on the
keyboard will mask everything.
| | 01:43 | As usual in ZBrush, holding down
Alt will produce the opposite effect.
| | 01:47 | So if masking is holding down Ctrl and
painting, if you want to unmask, you'll
| | 01:51 | hold down Ctrl+Alt while you paint.
| | 01:54 | This will remove masking from
any polygons that you paint on.
| | 01:59 | You can remove all masking by hitting
Ctrl+Shift+A. All of these functions and
| | 02:06 | more can be found in the Masking sub-palette.
| | 02:09 | If fancy keyboard kung fu isn't your thing,
it may be easier to use the buttons here.
| | 02:14 | Masks are a powerful way to
control how you sculpt in ZBrush.
| | 02:18 | You'll use them all the time to protect
areas that you don't want to be affected
| | 02:21 | by any edits that you do.
| | 02:23 | Take a few moments to practice using
masks and memorize the keyboard shortcuts.
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| Masking based on cavity and occlusion| 00:00 | In addition to painting masks by hand,
ZBrush can generate masks based on the
| | 00:05 | structure and detail of a model.
| | 00:07 | Masking by cavity means that ZBrush
identifies which vertices of a model are
| | 00:11 | depressed inside creases and
cracks, and masks them automatically.
| | 00:15 | Masking by ambient occlusion is similar,
but it masks off areas where the surface
| | 00:18 | is close to other surfaces.
| | 00:20 | It's like surrounding an object with
lights and masking parts where the object
| | 00:24 | cast shadows on itself.
| | 00:26 | Let's open up the DemoRhino to have
something to work with, and let's also make
| | 00:30 | its color pure white, so that
we can see the mask more clearly.
| | 00:33 | I also want to increase the subdivision
levels a few times, so that we have more
| | 00:37 | detail to work with.
| | 00:39 | Just clicking it twice should be good enough.
| | 00:41 | So let's go down to the Masking sub-palette.
| | 00:45 | The first thing I want to
talk about is masking by cavity.
| | 00:48 | Let's zoom in on the rhino and
identify what areas are actually cavities.
| | 00:53 | A cavity is any area where there is
like a depression or a crease where
| | 00:57 | the model goes inwards.
| | 00:59 | So you can see right here on the knee
or the ankle, or whatever this is, there
| | 01:03 | is a depression inwards.
| | 01:05 | Some cavities are more intense than others.
| | 01:07 | This one right here at the shoulder
is much deeper of a cavity, and you can
| | 01:11 | control how ZBrush
interprets the depth of cavities.
| | 01:15 | You can experiment with Intensity to
make the mask stronger or less intense.
| | 01:20 | I'm going to leave it at 10 for now, but
go ahead and experiment with that if you
| | 01:23 | are having any issues with the masking process.
| | 01:26 | One thing I want to open up is Cavity Profile.
| | 01:28 | This is how you tell Zbrush how intense
a cavity has to be before it's masked.
| | 01:33 | I think by default ZBrush over-masks.
| | 01:36 | So what I want do is tell ZBrush to
make only the more intense cavities masked,
| | 01:42 | and the way you do this is you
could just kind of drag up right here.
| | 01:46 | By adjusting the curve like this, it's
going to mean that a surface has to be
| | 01:49 | even more in cavity before it will be masked.
| | 01:51 | All right, let's click Mask
By Cavity to see the result.
| | 01:55 | So you see ZBrush went and looked
inside any areas where there is a
| | 02:00 | depression and masked it off.
| | 02:02 | Now if we were to sculpt on this, those
masked areas are going to be protected
| | 02:05 | just like any other mask.
| | 02:07 | Let's undo that, and let's get
rid of that mask as well by hitting
| | 02:11 | Ctrl+Shift+A. Mask by
Ambient Occlusion is similar.
| | 02:16 | Now Ambient Occlusion is going to look
at parts of the model and see if there is
| | 02:19 | another surface of the model that is nearby.
| | 02:23 | One area that it really
likes to look at is like legs.
| | 02:27 | Let's see if I can get a good view on this.
| | 02:29 | These two legs are close to each
other and would probably cast shadows on
| | 02:32 | each other in real life.
| | 02:34 | Ambient occlusion is going to look at
that relationship and mask off the areas
| | 02:38 | where one leg would cast a shadow on another.
| | 02:40 | I like to bump Occlusion Intensity up to
about 2 or 2.5 to get a more intense result.
| | 02:47 | Changing AO ScanDist, or Ambient Occlusion
Scan Distance, can give you different results.
| | 02:53 | I like to set it to something more like 0.5.
| | 02:58 | This is basically looking at
the distance between objects.
| | 03:01 | So the greater the distance you'd set
it to, the farther the ZBrush will look
| | 03:05 | from one part of the model to
the next to see if it's in shadow.
| | 03:10 | So let's see what we get.
| | 03:10 | I'm going to hit Mask Ambient Occlusion now.
| | 03:13 | Be aware that the more polygons you model,
the longer ambient occlusion takes to calculate.
| | 03:18 | You can usually experiment with the
result on a lower subdivision level, and
| | 03:22 | then when you like it, you can go
up subdivision levels and mask again.
| | 03:25 | You'll get a smoother result at higher
subdivision levels, but it will take longer.
| | 03:29 | On the lower levels, you
can experiment more quickly.
| | 03:31 | Now let's zoom out,
Hit F, and see what it looks like.
| | 03:36 | So it might not be entirely
obvious what has been masked off.
| | 03:40 | One way to get a sense of that is to unmask
it and hit Ctrl+Shift+A to clear everything.
| | 03:45 | Then you can see by what
changed, what is actually masked.
| | 03:49 | To bring the mask back, simply undo.
Hit Ctrl+Z. So as you can see, ZBrush has
| | 03:56 | masked between different surfaces of the object.
| | 04:00 | It sort of simulates how an
object would cast shadows on itself.
| | 04:03 | There are many reasons to
mask by cavity and occlusion.
| | 04:07 | You may want to use it to help paint
darker colors and crevices to accentuate them.
| | 04:12 | You may want to sculpt scratches on
the surface of something, but keep recess
| | 04:15 | areas protected from them
like they would be in reality.
| | 04:18 | I'm sure there are many other
creative uses for the style of masking that
| | 04:21 | haven't even been thought of yet.
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| Selecting and hiding parts of a tool| 00:00 | There may be times when you only want
to see a part of the model, or some parts
| | 00:04 | may be in the way of others and you
want to make them disappear for a while.
| | 00:08 | ZBrush has a Selection function
that makes this quick and easy.
| | 00:11 | Like many functions of ZBrush, its
selection tools require the user to master
| | 00:15 | some complicated keyboard combinations.
| | 00:18 | With a little practice, however, you'll
be a selecting and hiding ninja in no time.
| | 00:22 | Let's open up the
SuperAverageMan project from the Spotlight.
| | 00:27 | Let's say that we just want to focus on
the head and that the rest of the body
| | 00:30 | is just getting in the way right now.
| | 00:32 | I'm going to move this down so we
can get a better view of the head.
| | 00:35 | Now we can select the head by
holding down the Ctrl and Shift keys.
| | 00:40 | Notice that when you hold these keys
down that the Brush and Stroke icons change.
| | 00:44 | We're now in Selection mode.
| | 00:46 | Click and drag a box over the head.
| | 00:49 | The body disappears, leaving the head.
| | 00:50 | Hit the F key to focus
in on the visible portion.
| | 00:54 | The body is still there;
it's just invisible.
| | 00:58 | We can modify the visibility in a few ways now.
| | 01:01 | We can invert the selection by holding
down Ctrl and Shift and then clicking a
| | 01:06 | single time on the model.
| | 01:08 | This makes everything that was
hidden visible and vice versa.
| | 01:11 | If you hold down Ctrl and Shift and
then single-click on the canvas, everything
| | 01:15 | becomes visible again.
| | 01:18 | Let's open up the Visibility sub-palette.
| | 01:19 | There is a few more ways to
manipulate selections there.
| | 01:24 | Let me give you an example of
when you would grow a selection.
| | 01:26 | I'm going to move to the hand of the model.
| | 01:28 | Now let's say I want to
select just the pinky finger.
| | 01:32 | But it's kind of hard to draw a mask
that just exactly covers the pinky, because
| | 01:37 | you sometimes catch a
little bit of the other finger.
| | 01:40 | So let me just undo that and
show you an easier way to do this.
| | 01:43 | Let's zoom in a little bit in on the
pinky, and now I just want to select a
| | 01:48 | little tip of the finger. See, just a
little bit of that tip is selected.
| | 01:53 | Now if I hit Grow, it's going to increase
the size of that selection along the surface.
| | 01:58 | So now I've got the
entire pinky finger selected.
| | 02:04 | All right, let's make everything visible again by
hitting ShowPt, and I'm going to hit F to zoom out.
| | 02:13 | Okay, so a good way to make
irregularly shape selections is by converting a
| | 02:17 | mask to a selection.
| | 02:19 | So first, I'm just going to paint a
mask on this body, and then you just hit
| | 02:25 | HidePt to convert it to a selection.
| | 02:28 | It would be very difficult to
draw a box over an area like this.
| | 02:33 | Take a few moments to practice with
these functions to get the hang of it.
| | 02:36 | You'll use selections all the time to
focus in on the important parts of models.
| | 02:40 | Selections really get powerful when in
combination with masking and other features.
| | 02:45 | You'll find that there is many ways to
achieve different effects by hiding some
| | 02:48 | parts of the model and modifying others.
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| Working with polygroups| 00:00 | Polygroups are a way of organizing a model.
| | 00:03 | It assigns various polygons that you
define into groups that can be viewed and
| | 00:07 | controlled independently.
| | 00:09 | Polygroups help make complex
models easier to deal with.
| | 00:12 | In a way, polygroups can be thought of as
a way of saving selections for future use.
| | 00:16 | Let's start by opening up SuperAverageMan.
| | 00:21 | Let's say that you want to have the
arms defined as separate polygroups.
| | 00:25 | First, select one arm so that
the rest of the body is hidden.
| | 00:28 | So I'm just going to
Ctrl+Shift and drag a box over one arm.
| | 00:34 | Now open up the Polygroups sub-palette,
and then I'm just going to hit Group
| | 00:39 | Visible. It doesn't seem like anything happened,
| | 00:43 | but if you turn on PolyFrame,
you'll see the difference.
| | 00:46 | So I'll just hit Shift+F to turn on PolyFrame
and Ctrl+Shift to bring back the entire model.
| | 00:54 | When you make a polygroup, the grouped
polygons are assigned a random color to
| | 00:58 | distinguish them from other groups.
| | 01:00 | Now let's repeat this process for the
other arm and bring everything back with
| | 01:06 | a Ctrl+Shift+Click.
| | 01:08 | Now it's easy to use the
selection functions with polygroup.
| | 01:11 | Instead of manually selecting the arm,
you can just Ctrl+Shift+Click on one of
| | 01:16 | them and ZBrush hides everything
but the polygroup that you clicked on.
| | 01:21 | Now, Ctrl+Shift+Click the arm again.
| | 01:24 | This inverts the polygroup selection.
| | 01:27 | If you Ctrl+Shift+Click the
other arm now, ZBrush will hide it.
| | 01:32 | Now with just one polygroup visible,
a Ctrl+Shift+Click on the body will
| | 01:36 | invert the selection.
| | 01:40 | As always, Ctrl+Shift+Click on
the canvas to bring everything back.
| | 01:45 | It's a good idea to organize models into
polygroups, especially when a model is complex.
| | 01:50 | It will really help you focus on
important parts while getting unnecessary parts
| | 01:54 | of the model out of the way.
| | 01:56 | Take a few minutes to practice with
making polygroups and playing with
| | 01:59 | their visibility.
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| Using deformation| 00:00 | Sometimes you want to deform the
shape of your model in a uniform or
| | 00:04 | predictable way all over.
| | 00:06 | ZBrush deformations can perform these
alterations and save you the time of
| | 00:09 | having to make them by hand.
| | 00:11 | Let's open up the SuperAverageMan
and expand the Deformation sub-palette.
| | 00:14 | There's lots of controls here, but one
thing that most of them have in common
| | 00:22 | is the axis selector.
| | 00:24 | Let's look at it in the rotate deformer.
| | 00:26 | By default, the Z axis is active.
| | 00:29 | If we move the slider back and forth, we see
that the rotation happens along the Z axis.
| | 00:33 | If we click the Z off and turn on Y
and slide again, you notice the axis of
| | 00:39 | rotation has switched.
| | 00:41 | You could have multiple axes active
at once, which in the case of rotation
| | 00:44 | results in some unpredictable overlap of motion.
| | 00:47 | Some deformations work best with all
axes active so that the result is even.
| | 00:51 | I just want to show you some of the
more useful deformers that I use often.
| | 00:57 | Offset will move a model.
| | 01:00 | Size will grow or shrink a model.
| | 01:03 | By default, all of its axes are active.
| | 01:05 | I actually like to turn off all but
one of them sometimes, so you could really
| | 01:09 | get the effect and see how
it stretches on just one axis.
| | 01:15 | SBend is good for curling a model around.
| | 01:20 | Twist will warp the model into a spiral.
| | 01:22 | Let's put this one on Y just to see the effect.
| | 01:32 | Inflate will make the model turn into
something like the Stay Puft Marshmallow Man.
| | 01:38 | Take some time to play
around with the deformations.
| | 01:40 | They are fairly straightforward and
with a little experimentation, you will
| | 01:43 | understand how they all work.
| | 01:45 | As you can see, deformers
automatically change the shape of a model in a
| | 01:49 | predictable way that would be
difficult if not impossible to do by hand.
| | 01:53 | Keep them in mind if you ever find
yourself needing to make a big shape
| | 01:57 | change to your model.
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| Mirroring geometry across an axis| 00:00 | There may be times when you want to
flip a model from one side to the other.
| | 00:04 | You can mirror geometry left to
right, front to back, or top to bottom.
| | 00:08 | The process isn't as straightforward as
I would prefer, as it involves a bit of
| | 00:12 | a roundabout process, but in the end
it's a lot easier than re-sculpting
| | 00:16 | something in reverse.
| | 00:18 | Let's open up the DemoSoldier.
| | 00:20 | I am also going to expand the
Geometry and the Deformation sub-palettes.
| | 00:25 | Let's zoom in so we can see
it a little bit more easily.
| | 00:33 | Let's say that we want this guy's
shoulder pad on the other shoulder.
| | 00:36 | Hold down Alt and just click on the
shoulder pad. That makes it the active subtool.
| | 00:40 | I will talk about subtools more in
later movies, but for now it's sort of a
| | 00:44 | model within a model.
| | 00:46 | Now, click on Mirror in
the Deformation sub-palette.
| | 00:50 | We get an error message because
ZBrush can't mirror objects with
| | 00:54 | subdivision levels.
| | 00:55 | Hopefully, Pixologic fixes this in the future.
| | 00:58 | For now, we have to do a little workaround.
| | 01:00 | We are going to remove the extra
subdivisions and then put them back after mirroring.
| | 01:05 | Let's go up to the Geometry
sub-palette and click Del Lower.
| | 01:10 | So, that removed the lower
subdivision levels so that there's just one
| | 01:14 | subdivision level now.
| | 01:15 | We can now mirror, and then we
click Reconstruct Subdiv in the
| | 01:22 | Geometry sub-palette.
| | 01:24 | So, it's this button right here.
| | 01:27 | Reconstruct Subdiv will analyze
the geometry and see if a lower
| | 01:31 | subdivision level once
existed. So, I click that.
| | 01:35 | You may have noticed the geometry
switch to a lower subdivision level.
| | 01:38 | Let's look up here. Okay, yeah, so
we have two subdivision levels now.
| | 01:43 | You will find that Mirror is a
convenient way to flip things rather than
| | 01:46 | recreating them on the other side.
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| Restoring symmetry| 00:00 | Sometimes you may be working on a model
that you intend to be symmetrical, but
| | 00:04 | you forgot to turn on
symmetrical sculpting beforehand.
| | 00:08 | Now, you've put all this work into
one side and now you are dreading having
| | 00:11 | to redo all that work.
| | 00:13 | Not to fear: ZBrush can transfer detail
from one side of a model to another with
| | 00:17 | a deformation called Smart ReSym.
| | 00:20 | Let's open up SuperAverageMan and
expand the Deformation sub-palette.
| | 00:26 | Just for demonstration purposes, sculpt
some random shape into one side of the model.
| | 00:32 | Now, we want to get the
same detail on the other side.
| | 00:36 | The Smart ReSym button allows you to
set which axis you want to mirror.
| | 00:40 | By default, it's on X, and
that is the one we want.
| | 00:43 | Now, if you click the button, you see
that what it's done is average the two
| | 00:48 | halves to be the same.
| | 00:49 | Usually, this is not what you want it to do;
| | 00:52 | usually you want all the detail from one
side to go over to the un-detailed side.
| | 00:56 | So, I'm going to hit Ctrl+Z to undo that.
| | 00:59 | In order to get all this detail from
one side to the other, we need to mask the
| | 01:03 | sculpted side to protect it from change.
| | 01:06 | So let's zoom out a little bit.
| | 01:08 | I am just going to view the model from
straight on, and I am going to hit Ctrl
| | 01:12 | and then click and drag a
box over one half of the model.
| | 01:16 | So, this is going to create a mask.
| | 01:18 | It's going to preserve what we have
sculpted on this side, so it won't change.
| | 01:21 | Now, let's hit Smart ReSym again.
| | 01:25 | You will use Smart ReSym mainly to fix
things when you forgot to have Symmetry
| | 01:29 | turned on in the first place.
| | 01:31 | Don't count on in all the time, however.
| | 01:33 | On particularly complicated or dense
models, you may have difficulty getting
| | 01:37 | it to work accurately.
| | 01:39 | The best defense is to keep an eye on
symmetry to make sure you have got it set
| | 01:43 | the way you want before you sculpt.
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| Creating morph targets| 00:00 | A morph target is like a saved version
of your model that you can revert to.
| | 00:04 | It records the positions of every
vertex of your model and allows you to then
| | 00:09 | morph between that and any
modified versions of the model.
| | 00:13 | Open up the DemoDog and expand the
Morph Target sub-palette. Click on StoreMT.
| | 00:19 | This will save the shape of
the model in its current state.
| | 00:23 | Now, get the Move brush out and just have
some fun changing the overall shape of the dog.
| | 00:27 | I am going to hit B+M+B to switch to
the Move tool and I am going to hit X
| | 00:31 | to turn on symmetry.
| | 00:46 | Now click on the Switch button.
| | 00:49 | This will revert back to the state the
model was in when you stored the morph target.
| | 00:54 | It's kind of like an undo
that you can always jump back to.
| | 00:57 | Click Switch again to go
back to the edited version.
| | 01:00 | You can also blend between
the old and the new versions.
| | 01:03 | Slide the Morph slider up and watch the result.
| | 01:07 | This can be useful if you want to make
an edit, but you are not sure how intense
| | 01:11 | of a change you want.
| | 01:12 | You can make extreme changes and then dial the
effect back to get something that looks good.
| | 01:17 | You can even run the slider
backwards and get an exaggerated result.
| | 01:22 | You can only have one
morph target stored at a time.
| | 01:25 | Click DelMT to clear the memory.
| | 01:30 | Be aware that you could only switch or
blend morph targets when your tool is on
| | 01:34 | the same subdivision level as it was
when you first stored the morph target.
| | 01:38 | One situation that I like to use Morph
Target in is when I subdivide a model.
| | 01:43 | When ZBrush subdivides, it also
slightly relaxes the lowest subdivision level.
| | 01:48 | Let me demonstrate.
| | 01:49 | First, I will store a morph
target at the lowest subdivision level.
| | 01:55 | Now, I will hit Ctrl+D a few times to
subdivide the model. Then hit Shift+D a
| | 02:00 | few times to go back to
the lowest subdivision level.
| | 02:02 | I am going to hit F so we see
this little bit more clearly.
| | 02:06 | It may not look like it, but the
model has lost a little definition.
| | 02:10 | Hit Switch to see what I mean.
| | 02:15 | I use morph targets whenever I subdivide
in order to restore the lost definition
| | 02:19 | that results from subdividing.
| | 02:21 | You will use morph targets when you are
about to make big changes to your model
| | 02:24 | and you think you might want to
revert back or tone back the changes.
| | 02:28 | It's also just a lot of fun to play with.
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| Understanding surface normal direction| 00:00 | Occasionally, you may find that models
that you import from other programs will
| | 00:04 | appear to be inside out.
| | 00:06 | This is because polygons have
two sides: a front and a back.
| | 00:10 | The direction that the front side
faces is called the normal, which is
| | 00:13 | a mathematical term.
| | 00:15 | It doesn't mean what the word
'normal' normally means in this context.
| | 00:19 | Sometimes ZBrush will get
confused about which side is which.
| | 00:23 | Since the back side of a polygon is invisible
by default, the model can seem to be inside out.
| | 00:29 | This problem is easily corrected.
| | 00:31 | Let's open up the DemoSoldier and
expand the Display Properties sub-palette.
| | 00:40 | Right now, there's no problem with the normals.
| | 00:43 | But if we click the Flip button, the
active subtool looks like it's backwards.
| | 00:47 | You see now we're seeing
the inside of the model.
| | 00:53 | This is because ZBrush has just
flipped which side of the polygons are front
| | 00:56 | and which are back.
| | 00:58 | Clicking Flip again will set the
Normals in the correct direction.
| | 01:02 | Let's hit Flip once again in
order to see what Double does.
| | 01:06 | Double makes both sides of the model
visible instead of just the front-facing side.
| | 01:12 | One situation where you would want to
flip normals is if you're sculpting a cave.
| | 01:16 | I am just going to make a Sphere3D
primitive to work with and let's click Make
| | 01:22 | PolyMesh so that we can sculpt on it.
| | 01:23 | I am going to hit F to zoom in.
| | 01:25 | All right, so let's switch to the Move brush.
| | 01:29 | I am going to hit B+M+B, and I am just
going to start making this sphere look a
| | 01:33 | little bit more organic, kind of
like a cave would look naturally.
| | 01:37 | Now if you want to start sculpting
details like stalactites and stalagmites
| | 01:44 | inside the cave you'll want
to see it from the inside.
| | 01:50 | Reversing the normals allows us to
see and sculpt from within the model.
| | 01:59 | It really comes down to your preference
whether you flip your normals or double them;
| | 02:03 | however, it might make a difference
if you export the model to a different
| | 02:06 | program, since some softwares
interpret normal direction differently.
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|
|
5. Working with SubtoolsLearning the basics of subtools| 00:00 | Subtools separate pieces of geometry
that make up a single tool or model.
| | 00:05 | Take the example of a hat on a head.
| | 00:07 | You would want to work with them
together because you'd want to make sure that
| | 00:11 | the hat fits nicely on the head.
| | 00:13 | But if the hat was the same polygonal
mesh as the head, it would be cumbersome
| | 00:17 | to move it around relative to the
head, or swap it for another hat.
| | 00:20 | Subtools fix this problem by storing
separate pieces of geometry, kind of like
| | 00:25 | layers that you can hide, select,
and manipulate independently.
| | 00:30 | Let's open up the DemoSoldier
project from the Light Box and then open up
| | 00:34 | the Subtool palette.
| | 00:41 | Tools can contain any number of
pieces of geometry as subtools.
| | 00:45 | It's often useful to have different
accessories and bits of clothing as
| | 00:49 | subtools, because you can
work with them separately.
| | 00:52 | You can click on any of the subtools in
this palette to make them the active subtool.
| | 00:56 | Only the active subtool can
be sculpted or worked with.
| | 01:00 | Notice that whatever subtool you select,
it gets lighter and the others get darker.
| | 01:05 | This helps you see which
subtool you have active at a glance.
| | 01:10 | You can scroll through the
subtools with this orange slider.
| | 01:14 | There's lots of buttons and
settings, so let's just see what they do.
| | 01:18 | List All simply shows all your
subtools in one menu that you can choose from.
| | 01:22 | That's basically the same thing as
this list, except you don't have to scroll
| | 01:26 | through anything to see
all of your subtools at once.
| | 01:30 | The Up and Down arrows just select the
next subtool up or down from the active one.
| | 01:36 | These arrows just below will rearrange
the subtools in the list, moving them up
| | 01:40 | or down in the stack.
| | 01:42 | This doesn't really change anything;
| | 01:44 | it's just for organizing
things for your own preference.
| | 01:48 | Rename simply gives you a textbox so
you can change the name of the subtool.
| | 01:55 | All Low will lower all the subtools
to their lowest subdivision level.
| | 02:00 | Conversely, All High will
set them all to their highest.
| | 02:04 | That's convenient so that you don't
have to go through every single subtool and
| | 02:08 | go up subdivision levels individually.
| | 02:11 | You can just do it all together in one.
| | 02:14 | And Delete is easy enough.
| | 02:16 | It just makes unwanted subtools go bye-bye.
| | 02:19 | It's not undoable, so make sure you know what
you're doing before you delete any subtools.
| | 02:24 | With these basic subtool functions,
you'll be able to keep even complex
| | 02:28 | models more organized.
| | 02:30 | Any time your model involves separate
parts that can move independently, it's
| | 02:34 | usually a good idea to keep them as subtools.
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| Making new subtools| 00:00 | Now that we've got the basics out of
the way, I want to show you some of the
| | 00:03 | more advanced things you can do with subtools.
| | 00:06 | You can make new subtools either by
importing other models or by cutting up
| | 00:10 | existing tools and subtools.
| | 00:12 | Let's open up the hankbody exercise
file and expand the Subtool palette.
| | 00:17 | Since this is a tool instead of a
project, I am going to have to click and drag
| | 00:20 | to open it and then go into Edit mode.
| | 00:22 | Let's also hit F to zoom in a little bit,
and I want to close the Light Box down
| | 00:26 | so that's out of the way.
| | 00:27 | So over in the Subtool palette, the
way we bring in more subtools is by
| | 00:33 | clicking on Append.
| | 00:35 | This shows us all the other tools that are
loaded into memory, as well as primitives.
| | 00:40 | Right now, the clothing isn't
loaded into memory, so let's go do that.
| | 00:50 | Now that we can see the hankclothes here
in the toolbox, let's go back to hankbody.
| | 00:53 | I am just going to scroll
down and let's click Append.
| | 00:57 | Now we can pick the clothes.
| | 01:00 | For appending, you'll want to
open Ztools rather than ZProjects.
| | 01:04 | This is because ZProjects come with their own
toolboxes that will replace any opened tools.
| | 01:09 | So you can see we've now got
hankclothing as one of the subtools.
| | 01:14 | One thing to remember is that Append
will only bring in the active subtool of
| | 01:19 | the tool that you're trying to append.
| | 01:21 | So you can see the
button was a separate subtool.
| | 01:24 | And let's go back up to hankclothes
here, and we can see there's a button here.
| | 01:29 | We need to make this the active subtool in
order to bring it in to the hankbody tool.
| | 01:35 | With that active, let's go back
to hankbody and click Append again.
| | 01:39 | Now we've got the button.
| | 01:42 | The Duplicate button makes a copy
of this currently selected subtool.
| | 01:46 | So let's select the button
and make a duplicate of it.
| | 01:49 | Now we've got two of them, and now
you can move one of these over to a
| | 01:55 | different part of the shirt.
| | 01:56 | So I am just going to go into Move mode here
and just move the second button into place.
| | 02:04 | The Groups Split button will divide a
single subtool into separate subtools
| | 02:13 | based on what polygroups it's made up of.
| | 02:15 | So I am going to select the clothing
and hit Shift+F to go into Polyframe mode.
| | 02:20 | This is going to show me what different
polygroups the clothing is made up of.
| | 02:24 | So when I click Groups Split, it's
going to tell me that this is not an
| | 02:27 | undoable operation. That's okay;
| | 02:30 | I am just going to hit OK.
| | 02:32 | Now all the polygroups are separate subtools.
| | 02:35 | Let's say we want to turn his pants into shorts.
| | 02:38 | The Split Hidden button will separate
any hidden parts into a separate subtool.
| | 02:42 | So let's hold down Ctrl and
Shift and drag a box over the pants.
| | 02:47 | Now if I hit Split Hidden, you
can see we've got two subtools now:
| | 02:52 | one for the top of the pants
and one for the lower half.
| | 02:54 | We could just delete this and
we would be left with shorts.
| | 02:57 | Creating multiple subtools can
really help you keep your model organized,
| | 03:01 | especially when there are lots of
accessories or separate objects that need to
| | 03:05 | relate to each other.
| | 03:06 | When in doubt, make a new subtool.
| | 03:08 | You can always combine them back
together, as I'll show you in the next movie.
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| Combining subtools| 00:00 | Sometimes you may have way more
subtools than you really need and it can be
| | 00:04 | helpful to combine some into one.
| | 00:07 | This is easy to do, and don't worry, you can
always split them apart again if you need to.
| | 00:11 | Let's open up the hank exercise file.
| | 00:13 | I am just going to click and drag to open
this open this and hit Edit to go into Edit mode.
| | 00:20 | I am also going to hit F so we
can see it more clearly on screen.
| | 00:24 | Let's also close the Light Box. It's just in the way.
| | 00:28 | Now let's open up the Subtool sub-palette.
| | 00:31 | Let's first talk about
merging subtools into one.
| | 00:37 | Let's say we want these two shoes to
be the same subtool. First, I am going to
| | 00:44 | arrange the shoes so that they
are next to each other in the list.
| | 00:47 | I am going to move this one shoe up one,
and then I am going to use Merge Down.
| | 00:53 | What Merge Down does is it combines
two Subtool into one by taking the one
| | 00:57 | that's currently selected and
merging it with the one below it.
| | 01:00 | So I've got the top shoe
selected, and I'll just click Merge Down.
| | 01:05 | It's just reminding me that this is
not undoable. And this is what I want, so
| | 01:09 | I am going to hit OK.
| | 01:10 | Now you can see the shoes are one subtool.
| | 01:15 | The Merge Visible button will merge all
subtools that are currently visible into one new tool.
| | 01:22 | Let's say that I want the
pants to be one subtool again.
| | 01:25 | I'm going to hide all the other
subtools and then click Merge Visible.
| | 01:28 | So we'll just select the top part of the
pants and hide all these other subtools.
| | 01:36 | You've just got the two
subtools of the pants visible now.
| | 01:39 | If I click on Merge Visible, what
happens is ZBrush makes a new tool up here in
| | 01:45 | the toolbox called Merged_hankclothes.
So if just click on this, you can see
| | 01:51 | it's a single subtool now.
| | 01:53 | This could be appended back into our other tool.
| | 01:57 | Now there's one setting that
affects merging, and that's Weld.
| | 02:00 | Let's go back to the hankclothes tool.
| | 02:05 | Weld will make any vertices that occupy the
same space to be joined when they're merged.
| | 02:11 | So to demonstrate, I am just going to
turn this off and click Merge Visible.
| | 02:16 | Now we'll go up and look at the new
tool that it created in the toolbox.
| | 02:21 | So it looks just like the other one
that we made, but if I'd go into the Move
| | 02:26 | Topological tool, which is B+M+G,
and then try to move this--actually, I am
| | 02:30 | going to zoom in, so we can see more clearly--
| | 02:32 | what happens is it splits apart at the seam
where it used to be two different subtool.
| | 02:37 | This is because the vertices were not merged.
| | 02:39 | If I go back to one that I made
previously where Weld was turned on, you can see
| | 02:44 | if I use the Move
Topological, it stays together.
| | 02:47 | That's because the vertices were welded.
| | 02:50 | Although it can be complicated, it's
a good idea to understand all of these
| | 02:54 | functions that you can do with subtools.
| | 02:56 | Many times creating a model involves a
lot of breaking off, adding to, switching
| | 03:01 | around, and other types of manipulating.
| | 03:03 | The advanced control that you get
with subtools gives you the flexibility
| | 03:07 | to make these changes.
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6. Deforming with TransposeMasking with Transpose| 00:00 | Transpose is a trio of controls that
allow you to pose, deform, and otherwise
| | 00:05 | alter the shape of models.
| | 00:07 | It's designed for bending limbs,
resizing anatomy, and adjusting body proportions.
| | 00:13 | Let's open up the SuperAverageMan
to have something to practice with.
| | 00:18 | You enter Transpose mode by clicking on any
of these three Move, Scale, or Rotate buttons.
| | 00:24 | Transpose comes with its own way of
masking that is turned on whenever one of
| | 00:28 | these Transpose modes is active.
| | 00:29 | Let's click the Move Transpose mode.
| | 00:33 | These weird circles that we see now
is part of the Transpose Manipulator.
| | 00:37 | I'll go into that in the next movie.
| | 00:39 | But for now, let's see how this
special mode of masking works.
| | 00:43 | Hold down Ctrl like you
would to normally paint a mask.
| | 00:46 | Now, click and drag on the model.
| | 00:49 | What we get is a mask that
is created directionally.
| | 00:52 | Take a moment to create several
masks to get used to how this works.
| | 00:58 | It kind of follows the structure of
the mesh, as it divides a model into a
| | 01:01 | masked and unmasked portion.
| | 01:04 | You can also add to this mask by holding
down Ctrl and Alt as you click and drag.
| | 01:13 | Turn on Symmetry by hitting X and
you can mask with symmetry active.
| | 01:21 | You can take this mask back into
Sculpting mode by clicking on Draw.
| | 01:25 | Now the mask can be further
refined just like any other.
| | 01:30 | Since this way of masking is very handy,
even when you otherwise wouldn't use
| | 01:34 | the Transpose functions, it seems a
little odd the ZBrush makes it only
| | 01:38 | available within one of
the three Transpose modes.
| | 01:41 | Either way, you'll use it regularly
when you want to mask along the length of
| | 01:45 | your models in a way that
conforms to its structure.
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| Adjusting the Transpose Manipulator| 00:00 | The Transpose Manipulator is like a
joint or a pivot point around which
| | 00:04 | the deformation occurs.
| | 00:06 | It's important to know how to
place it so that the transposition
| | 00:09 | happens predictably.
| | 00:11 | Let's open up a
SuperAverageMan to practice with.
| | 00:15 | Go into one of the Transpose modes and
draw a mask down the arms so that the
| | 00:19 | edge of the mask is over the elbow.
| | 00:21 | I just want to zoom in
to make this easier to do.
| | 00:23 | I am going to hold down Ctrl and
click and drag. That's about on the elbow.
| | 00:28 | ZBrush automatically makes a manipulator
along with the mask, but it's not really
| | 00:34 | where we want it to go.
| | 00:36 | You can move either end of it by
clicking and dragging on these yellow circles.
| | 00:40 | So when you move your mouse over them,
they highlight, and so we know we
| | 00:44 | can move this one here.
| | 00:49 | Now, either end of this is going to
be the pivot point for the movement,
| | 00:52 | so we want to make sure
that's right over the elbow.
| | 00:55 | You could also move the entire
manipulator at once with this yellow circle.
| | 00:59 | I also want to take a look at this
from above to make sure we have got
| | 01:02 | it aligned properly.
| | 01:03 | All right, this one is a little bit off.
| | 01:05 | I want this to be more in
the center of the joint.
| | 01:08 | And let's move this one a
little bit more over the hand.
| | 01:12 | So you may have noticed that there is
also these extra red and white circles
| | 01:16 | that appear when you move the mouse over them.
| | 01:18 | These are the ones that actually
make the movement and deform the mesh.
| | 01:22 | These outer yellow ones
simply position the manipulator.
| | 01:26 | I'll show you more in the next movie
how these work, but for now we just want to
| | 01:31 | know how to position the manipulator.
| | 01:34 | Every time you use the Transpose
tools you'll probably be positioning the
| | 01:37 | manipulator a lot, but it doesn't really
accomplish anything until the next step.
| | 01:41 | In the next movie, I'll show you
how the manipulator works with each of
| | 01:45 | the Transpose modes.
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| Moving, scaling, and rotating with Transpose| 00:00 | Moving, scaling, and rotating are at
the heart of the Transpose functions.
| | 00:05 | Up to now, we've done the setup work for
Transpose, from masking to positioning
| | 00:09 | the manipulator; now we
really get to move things around.
| | 00:13 | Let's open up SuperAverageMan.
| | 00:16 | Let's see how we can use the
Transpose functions to move his head around.
| | 00:20 | So I just want to zoom in closer to the neck.
| | 00:23 | I also want to turn on symmetry by hitting
X, so that we get a nice even deformation.
| | 00:29 | And let's go into Move mode.
| | 00:31 | I am going to hold down Ctrl so we can
draw out a mask and just get something
| | 00:35 | roughly even in the middle of the neck.
| | 00:38 | Let's see if that did it
right all the way around.
| | 00:40 | It's a little bit off in the back.
| | 00:42 | Let me try it from the side.
| | 00:43 | All right, that looks pretty good.
| | 00:51 | We also need to position the
manipulator so it's in the middle of the neck.
| | 00:55 | So the way you can do that is by just
clicking and drawing without holding down
| | 00:59 | any keys from one point in the
middle of the neck and up to the top.
| | 01:03 | If you hold down Shift, it will lock
the manipulator in very precise angles.
| | 01:08 | So let's see what that looks like.
| | 01:10 | Okay, pretty close.
| | 01:12 | I also want to move it in the side
view so it's more in the center of the
| | 01:15 | neck from this position.
| | 01:17 | All right, now that we've got that
situated, you perform the actual transposing
| | 01:21 | by clicking and dragging the inner circles at
either end or in the middle of the manipulator.
| | 01:26 | So since we are in Move mode, let's
try clicking and dragging on this white
| | 01:30 | circle in the middle.
| | 01:32 | This will move the entire unmasked area evenly.
| | 01:36 | It's kind of a fun effect.
| | 01:40 | And let's undo that.
| | 01:42 | Something else you might want to do is turn
off symmetry after you have drawn the mask.
| | 01:46 | Sometimes having two overlapping
Transpose Manipulators, they can kind of fight
| | 01:51 | with each other, so I am just going
to turn that one off by hitting X.
| | 01:53 | Let's see what happens if we click
and drag either end of the manipulator.
| | 02:03 | So doing this it skews the unmasked area.
| | 02:06 | The end that you grab moves and the
opposite end is locked down like an anchor point.
| | 02:10 | Now let's try the other side.
| | 02:13 | So you can see not every Transpose mode
makes sense to use with every body part.
| | 02:17 | Now, let's try out Scale mode.
| | 02:22 | Grabbing either end now resizes the
unmasked area relative to the anchor points
| | 02:27 | on the opposite end.
| | 02:36 | The center circle grows or shrinks the
unmasked area in every direction except
| | 02:41 | in the direction parallel to the manipulator.
| | 02:44 | A description is probably less
helpful than a demonstration in this case.
| | 02:50 | Finally, Rotate mode.
| | 02:52 | This one may give the most predictable results.
| | 02:55 | That's probably the one
you are going to use most.
| | 02:57 | Dragging either end will simply rotate
around the pivot point, which is at the
| | 03:01 | opposite end of the manipulator.
| | 03:09 | Dragging the center circle will twist
the unmasked area around the manipulator.
| | 03:14 | When you're done transposing, simply
click on Draw mode to return to the
| | 03:18 | standard working mode.
| | 03:19 | Transpose can take a lot of
practice to get good with.
| | 03:22 | It often relies on precise masking, precise
placement of the manipulator, and a bit of luck.
| | 03:28 | Even when done carefully, there's
usually some cleanup sculpting that will need
| | 03:31 | to be done in order to fix up areas that
didn't quite deform the way you wanted.
| | 03:36 | Even with all these complications,
Transform is a powerful way to pose
| | 03:39 | and adjust your models.
| | 03:40 | I use it all the time to adjust the
positions and sizes of various body parts.
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7. Painting and Texturing with ColorUnderstanding how ZBrush uses color| 00:00 | ZBrush allows you to paint with color
onto your models using mostly all the
| | 00:04 | same brushes and settings you use for sculpting;
| | 00:07 | the difference is that instead of
altering the positions of polygons, you're
| | 00:11 | altering their color.
| | 00:12 | Let's open up the SuperAverageMan
and expand the Polypaint subpalette.
| | 00:20 | In order to allow polypainting,
we need to turn on Colorize.
| | 00:25 | With Colorize off, changing the color
will change the entire model's color.
| | 00:33 | With Colorize on, we can paint
different colors on to different parts.
| | 00:38 | We also need to change the
Brush mode from Sculpt to Paint.
| | 00:41 | You do this by turning
off Zadd and turning on RGB.
| | 00:46 | The colors that you paint with are
controlled here on the left side of the screen.
| | 00:49 | You can move the color pickers
around to get any color you want.
| | 00:53 | The swatch on the right is the
primary color, and the left one is secondary.
| | 00:58 | Click on the SwitchColor button to swap them.
| | 01:01 | You can also pick a color from anywhere
on your model by clicking and dragging
| | 01:05 | on the swatch over to the model.
| | 01:08 | You can see it's going to pick up white.
| | 01:10 | One thing you want to watch out for
is the material that you're using.
| | 01:14 | Right now, it's set to SkinShade4,
which is a neutral white material, but let's
| | 01:18 | say, for instance, you were using ReflectOrange.
| | 01:21 | This material comes with a color built
into it, so any color that you paint with
| | 01:25 | is going to add to it.
| | 01:27 | You can see here painting with pink isn't
quite giving us the same result we're expecting.
| | 01:30 | That's because it's
combining the orange with the pink.
| | 01:33 | I am just going to undo that.
| | 01:35 | So if you set it back to a material
that has a neutral white color built into
| | 01:40 | it, you will see you will
get a more predictable result.
| | 01:44 | Now this color pink is actually
the same that we see in our swatch.
| | 01:50 | Now we can start painting.
| | 01:52 | Simply set your brush size and your
color and your brush type and get down to it.
| | 01:56 | Let me zoom in here and show you.
| | 01:59 | I want to set the Draw
size a little bit smaller.
| | 02:03 | Now, notice when I paint it's really blocky.
| | 02:06 | This is because
polypainting is resolution dependent.
| | 02:09 | It's not painting the surface;
| | 02:11 | it's actually just painting the polygons.
| | 02:13 | So the more polygons you have in your
model, the finer the painting you can do.
| | 02:16 | I am just going to hit Ctrl+D a few
times to add subdivisions to the model.
| | 02:21 | Now when I paint the result is much smoother.
| | 02:25 | Take a few moments to experiment with
various brushes, colors, and stroke types.
| | 02:29 | Polypainting in ZBrush is a much faster
way to color a model than the old method
| | 02:33 | of painting on 2D texture maps.
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| Learning the basics of Spotlight| 00:00 | Spotlight is a new feature in the
latest version of ZBrush that makes it easier
| | 00:04 | to use pictures to add color
and texture to your models.
| | 00:08 | Spotlight has two main uses:
| | 00:10 | One is a 2D image manipulation tool
similar to Photoshop where you can paint
| | 00:14 | clone, smudge, and otherwise edit images.
| | 00:17 | The other use, which I'll cover in the
next movie, is transferring that color
| | 00:21 | and texture information
directly onto your 3D models.
| | 00:26 | Let's get acquainted with Spotlight without any
models first, just using it as a 2D image editor.
| | 00:32 | We want to load in a picture,
| | 00:34 | so let's go into the Texture palette and
let's click on Import to bring in an image.
| | 00:39 | I am going to look for an
image that comes with ZBrush.
| | 00:42 | So in the ZBrush folder, there is
ZTextures folder, and let's just click on
| | 00:46 | bark17 and click Open.
| | 00:50 | So you see, it brings in bark into ZBrush,
but it's not quite usable in Light Box yet.
| | 00:55 | Click on the texture here, and there's this
button down here that says Add to Spotlights,
| | 01:00 | so if you just click on that,
it'll bring up Spotlight.
| | 01:03 | The Light Box is just in the way, so
I am just going to close that.
| | 01:05 | So, now we see the image in full size.
| | 01:07 | There is also this weird ring thing.
| | 01:10 | That's the Spotlight widget.
| | 01:11 | It controls everything you do with 2D images.
| | 01:14 | And like many things in ZBrush,
it's completely confusing at first.
| | 01:18 | Lucky for you, I am
going to make it very simple.
| | 01:21 | This outer ring contains buttons
that change the image in various ways.
| | 01:25 | You can click on any of
them to see what they do.
| | 01:27 | Just a single click won't change
anything, except this one with the X. If you
| | 01:31 | click that, it'll close the image, and
that's not what we want to do right now.
| | 01:36 | Clicking and dragging on any of these
buttons will change the image in some way.
| | 01:40 | So, for example, if we click and drag
on the Scale button, you can see it will
| | 01:43 | shrink or enlarge the image.
| | 01:47 | The Hue button is fun.
| | 01:49 | If you click and drag on this one,
it'll shift the colors in the entire image.
| | 01:58 | Saturation will increase or
decrease the saturation of the colors.
| | 02:05 | Take a moment to experiment with the
effect you get from clicking and dragging
| | 02:08 | on all these buttons.
| | 02:10 | Most of them can also be used to
edit specific parts of the image.
| | 02:14 | So, for example, let's click on Hue.
| | 02:17 | Now, if we click and drag in the image,
it'll actually paint localized areas
| | 02:22 | with a single color, instead
of changing the entire image.
| | 02:28 | Clone is a fun brush.
| | 02:30 | Clone will paint any area of the
image with detail from another.
| | 02:34 | So the source of the clone is
wherever the center of the widget is.
| | 02:37 | You can move the widget around by
clicking anywhere on the image from the
| | 02:42 | center of the widget.
| | 02:45 | So let's say we want to
clone from this area right here.
| | 02:49 | Notice we get a little preview of what
it's going to paint, and you can see it's
| | 02:52 | the same image that's up here.
| | 02:54 | So if you just paint it anywhere, you
will see that the result looks like the
| | 03:00 | source of the clone up here.
| | 03:04 | This can be useful to remove
unwanted details and replace them with other
| | 03:08 | parts of the image.
| | 03:10 | You can move the entire image around
to a different part of the screen by
| | 03:13 | clicking and dragging in the
space between the two circles.
| | 03:17 | Moving the image will be
more useful in the next movie,
| | 03:19 | so take a few minutes to experiment
with the Spotlight and try all of the
| | 03:23 | buttons and brushes.
| | 03:24 | I personally prefer to use a
dedicated image program like Photoshop to make
| | 03:28 | these kinds of adjustments.
| | 03:29 | Either way, the real purpose of
Spotlight is to transfer images like this
| | 03:33 | directly onto your models,
which I'll cover in the next movie.
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| Painting and texturing with Spotlight| 00:00 | The ability to project 2D images onto
3D models has been in ZBrush for several
| | 00:05 | versions now, but with Spotlight the
process has gotten easier than ever.
| | 00:10 | Let's get the DemoRhino ready for painting.
| | 00:13 | I am going to turn Colorize on in
Polypaint, and I also want to subdivide the
| | 00:17 | model a few times by hitting Ctrl+D.
This will give us more polygons and more
| | 00:21 | detail to work with.
| | 00:23 | Now, we can import an image to
paint with through the Texture palette.
| | 00:26 | Let's go to Import, and I am going to
find an image inside ZTextures, and we've
| | 00:32 | got some images that come with ZBrush. And I am
just going to scroll down till I find image 4823.
| | 00:38 | It doesn't have much to do with rhinos, but
it's got a nice variation of color and texture.
| | 00:43 | Now we bring this into Spotlight by
clicking on the texture again, and click
| | 00:47 | the Spotlight button.
| | 00:49 | The Light Box popped up, and it's just
in the way, so I am going to kill that.
| | 00:52 | There's one weird thing you have to do
before you start painting, and that's to
| | 00:56 | set the Spotlight Radius.
| | 00:58 | It's basically just a preview of what
you're going to be seeing before you paint.
| | 01:02 | So, if you click the Spotlight Radius button
and click and drag, you'll see a circle
| | 01:07 | increasing and decreasing in size.
| | 01:09 | This is just the size of the preview
on the model that we are going to be
| | 01:12 | painting with, so just set this to a
nice medium size and release the mouse.
| | 01:18 | Now we need to switch Spotlight from
Image Editing mode to 3D Painting mode.
| | 01:22 | You do this by hitting the Z key.
| | 01:24 | Now as you move the brush around, you
see a preview of what will be painted.
| | 01:28 | I am going to hit F to get the rhino
up here closer, and let's just move
| | 01:33 | this around to the side.
| | 01:35 | So, right now, ZBrush is in Sculpt
mode by default, as you can see with the
| | 01:40 | Zadd button active.
| | 01:42 | Spotlight uses light and dark areas
of the image to determine how much
| | 01:46 | sculpting gets done.
| | 01:47 | So any area that's light will get
pulled out more and any area that's dark will
| | 01:52 | have less of effect on the model.
| | 01:55 | You can use all the same brushes, stroke
settings, and alphas in combination with
| | 01:59 | Spotlight sculpting.
| | 02:01 | Now let's paint with color.
| | 02:03 | Turn off Zadd and turn on RGB.
| | 02:06 | Now, as you stroke, you'll
be painting with color only.
| | 02:10 | Be aware the color resolution will only be
as high as the polygon density of the model.
| | 02:15 | If the result is blocky, try
subdividing the model a few more times.
| | 02:18 | So you can see if we move the model
around, we've got all that same density of
| | 02:25 | texture information that was in the
image now transferred onto the model.
| | 02:29 | Let's hit Z to go back into 2D Editing mode.
| | 02:33 | If you're done with Spotlight, you can
just hit the X button and that'll close
| | 02:37 | out of Spotlight mode.
| | 02:39 | Take some time now to experiment with all
the things you've learned about Spotlight.
| | 02:42 | Combine different settings and recognize the
potential for some really creative effects.
| | 02:47 | Spotlight is an indispensable tool
for creating all kinds of textures,
| | 02:50 | patterns, and colors.
| | 02:52 | You'll use it all the time to bring
that extra level of realism to your models.
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| Texturing a head: A practical approach| 00:00 | Now that we've got a basic
understanding of how Spotlight works, let's put it to
| | 00:04 | the test with a real-world example.
| | 00:07 | Texturing a model from photographs
is a very common task in 3D art.
| | 00:11 | I will show you how to get great
results within ZBrush and Spotlight.
| | 00:14 | For this we're going to texture a head,
so let's open up the tool menu here
| | 00:18 | and grab the demo head.
| | 00:19 | I need to drag in into the
canvas and go into Edit mode.
| | 00:23 | I also want to change this material from
this red wax to something that's white,
| | 00:29 | something that doesn't have a color that
comes along with the material, because I
| | 00:33 | just want to see the poly
painting that I'm going to be doing.
| | 00:36 | Also, you can see the total number of
polygons that are in this model right
| | 00:40 | now; it's only 69,000.
| | 00:42 | We want to have a lot more polygons
to work with, so that we can pick up as
| | 00:45 | much detail as possible.
| | 00:47 | Let's divide the geometry a few times.
| | 00:49 | I am going to go up to about 3 million.
| | 00:54 | Your computer might be able to
handle one more subdivision, but it will
| | 00:58 | good enough for now.
| | 01:00 | Okay, let's position this head.
| | 01:02 | We want it to be looking straightforward.
| | 01:03 | So let's hold down Shift to make sure
it's locked into a front view, and we will
| | 01:08 | just scale it up so we are
seeing more of the face on screen.
| | 01:10 | Now it's time to bring in our textures.
| | 01:15 | Let's go into Texture and we
will go to Import and bring in the
| | 01:20 | head_front exercise image.
| | 01:21 | Now that we've got that in, let's
click the Texture palette again and go
| | 01:27 | into Spotlight mode.
| | 01:29 | I just want to close Light Box
to get that out of the way.
| | 01:32 | Now we can reposition this photograph
so it's more directly over the head.
| | 01:37 | So I might want to rotate and scale
a little bit to get this lined up.
| | 01:40 | Let's see, this wheel is just
getting in the way right now,
| | 01:50 | so I am going to move that off to the
side. And let's see, the mouth is pretty
| | 01:56 | close, nose is pretty
close, eyes are pretty close.
| | 01:59 | I just want to use the Nudge tool.
| | 02:01 | It's this one right here, and we can
use this to push around the different
| | 02:05 | pixels in the image so they
match up closer to the model.
| | 02:09 | So here we got the draw size.
| | 02:11 | I am going to make that a little bit
bigger, so we can make more dramatic
| | 02:13 | changes. And so with the Nudge tool
active, we can just push around parts of
| | 02:17 | this image to get it lined up.
| | 02:19 | It looks like the jaw could
come out a little bit wider.
| | 02:28 | It doesn't have to be perfectly accurate.
| | 02:35 | There are always opportunities to
fix things up and correct mistakes.
| | 02:40 | Something else I might want to do is
get the draw size a little bit smaller, so
| | 02:45 | I have finer control over this.
| | 02:46 | I also want to tweak the nose. It looks
like the corners of the nose are a little
| | 02:52 | bit wider in the photograph
than they are in the model.
| | 02:55 | I will just push those in, and I will also
try to bring the hair up a little bit more;
| | 03:05 | it looks like model has got a
lot bigger of a mass of hair.
| | 03:08 | Now every once in a while you might be
noticing the white pixels in the image.
| | 03:15 | That's a little bug with Spotlight and
it makes things difficult because we have
| | 03:18 | to repaint those areas.
| | 03:20 | It's not going to make for a very clean
transfer, so I will have to repaint those
| | 03:24 | areas to cover up that area, but
otherwise it should work fine.
| | 03:30 | Okay, so once you've got the
image situated, we're ready to start
| | 03:33 | transferring this to the model.
| | 03:37 | So one thing I want to do is make sure
we're seeing a nice preview of what we
| | 03:40 | are going to be painting, so you can just click
and drag on this little icon and scale up your preview.
| | 03:45 | That's about good. Now you just hit
Z to go into Polypainting mode.
| | 03:50 | So you see you have got a nice little
preview of what's going to be painted on the model.
| | 03:53 | I have got symmetry on right now, but
actually I don't want that on because
| | 03:56 | the photograph is not symmetrical
and I don't want the textures to be
| | 03:59 | symmetrical either.
| | 04:00 | Now you can just simply click and drag
and it's going to brush all in the model.
| | 04:05 | Now you will notice I forgot to put
it into Polypaint mode, so I am just
| | 04:08 | going to hit Ctrl+Z to undo that.
Make sure you turn on Rgb and turn off
| | 04:13 | Zadd. Very common mistake.
| | 04:16 | I do it all the time.
| | 04:17 | So one thing you might be noticing is
the eyeballs are not being textured.
| | 04:21 | That's because the eyeballs are a separate subtool.
| | 04:24 | Any kind of polypainting
affects only the active subtool.
| | 04:29 | Now the hair isn't totally
covering the model, but that's okay.
| | 04:32 | We can fix that up from other views,
and we are also getting that--like I was
| | 04:36 | talking about before--those weird white pixels.
| | 04:39 | We can deal with those later.
| | 04:41 | Right now, I just want to get something
covering up everything that we can see
| | 04:44 | right now, just to have a
base to start working with.
| | 04:48 | Okay, let's take a look around
the model and see what's happened.
| | 04:51 | Most of the front of the face looks
pretty good, but we do have some weird
| | 04:54 | things happening. For example, the
sides of the face are really only picking up
| | 04:59 | any texture information from a very
glancing, shallow angle and so it's resulting
| | 05:03 | in a lot of stretch, and things
aren't quite accurate. That's okay.
| | 05:06 | We can pick up a lot of this
detail from side photographs.
| | 05:10 | Something else to look at is in the
photograph the nostrils weren't quite
| | 05:15 | positioned where the
nostrils of the photograph were,
| | 05:18 | so we can clean that up easily.
| | 05:20 | I just want to position the model, so we
can see those spots nice and clearly, and
| | 05:26 | then I am going to turn on Z, so
that we can turn on the Spotlight again.
| | 05:29 | And I just want to position this
photograph so that there is some neutral skin
| | 05:34 | tones are right here where
those spots are showing up.
| | 05:37 | Now I can hit Z again, and what
I want to do is just drop my brush size
| | 05:42 | down so we can come in and
just paint out those areas.
| | 05:50 | Something I also might want to do
actually is turn down the Rgb Intensity.
| | 05:53 | You can see that that painting is
kind of painting a harsh line around it.
| | 05:56 | I just want to bring down the intensity
so that we can paint more gradual
| | 06:00 | falloff, so I am just going to undo that
painting that I did and just paint with a
| | 06:04 | lower intensity so that we don't see
that brushstroke quite so obviously.
| | 06:08 | All right, well I think we are
ready to start projecting from the side.
| | 06:15 | So I just want to move them all around.
| | 06:17 | I am going to hold down Shift,
so we can lock in a side view.
| | 06:19 | Okay, it's locked in. Move the
image roughly to the center and hit Z to
| | 06:27 | bring back the Spotlight.
| | 06:28 | Now we want to bring in a different
photograph right now, so I am just going to
| | 06:31 | hit X to close out of this.
| | 06:32 | I am going to go into Texture and import the
other exercise file. And we just want to
| | 06:41 | load that up in Spotlight now. And just
like we did before, we are going to try
| | 06:46 | to position this over the model.
| | 06:49 | Rotate is going to come in handy here.
| | 06:51 | I am going to move this off to the
side because it's just getting in the way.
| | 06:56 | So I am going to scale.
It's looking pretty good.
| | 07:03 | The only issue, it looks like there are
just some parts of the face that aren't
| | 07:06 | quite lining up, so as before, we can
go into Nudge mode, and see my Draw Size
| | 07:11 | needs to be much bigger.
| | 07:12 | I am just going to work this into position.
| | 07:21 | Something else I might
want to tweak is the brow,
| | 07:23 | make sure that my photograph
is lining up nicely with that.
| | 07:26 | It actually helps if the photograph is
slightly larger than the model, just to
| | 07:36 | make sure that you are
going to get full coverage.
| | 07:42 | And looks like my lips might need to
come out a little bit farther just to
| | 07:46 | meet up with the model.
| | 07:47 | I am also going to pull the hair
out a little bit so make sure we get
| | 07:52 | full coverage on that.
| | 07:53 | Whoops, that is not what we wanted.
| | 07:57 | I am going to hit Ctrl+Z to undo that.
Actually, Ctrl+Z does not work on the
| | 08:02 | positioning of the image over the model,
| | 08:05 | so I am going to have to
reposition that manually actually.
| | 08:14 | It's looks like we have got some of
those stray white pixels again.
| | 08:16 | We will just have to deal with those manually.
| | 08:18 | All right, well that's pretty close.
| | 08:20 | Let's take this into Polypainting mode.
I'm just going to Z. And one thing you might
| | 08:26 | notice is--I will just rotate here.
| | 08:29 | We want to turn on Symmetry now, so
that we are painting on both sides of the
| | 08:32 | head at the same time.
| | 08:33 | I am just going to rotate that back
holding down Shift to lock it back into place.
| | 08:37 | Now you notice it's really faint.
| | 08:43 | I forgot to bring Rgb Intensity back up to 100,
so now we are going to get the full effect.
| | 08:48 | Now one thing you want to be careful
about is not brushing the side view too
| | 08:57 | close to the front of the face.
The reason for that is if I start brushing over
| | 09:01 | here on the front of the face, we are
going to get that same texture stretching
| | 09:04 | that we were doing before on the side,
but it will be on the front where we have
| | 09:07 | already got a nice result and
we don't want to mess with it.
| | 09:09 | I am going to shrink the brush size down
a little bit so we can have a more fine-
| | 09:15 | tuned edit right here. All right!
Let's see what this looks like.
| | 09:18 | So it's pretty close.
| | 09:21 | There is a little bit of
tweaking and fixing up we can do.
| | 09:24 | Let's fix some of these things up on the
head, especially in the back of the head.
| | 09:28 | One little trick here is to position
some of this hair so that we can paint hair
| | 09:33 | from the side of the head sort of on to
the back, and hair is just kind of messy
| | 09:36 | organic thing anyway so nobody is
really going to notice that we are pulling
| | 09:39 | hair from the wrong place and
putting it on a different place.
| | 09:42 | You also might want to turn off
symmetry when you are working on a place that's
| | 09:50 | right next to the center line of your
model because it will be really obvious if
| | 09:53 | the hairs are exactly the same to
halves that are close to each other.
| | 10:06 | It might take some back and forth until
you can find just the right part of the
| | 10:09 | photograph to paint on just
the right part of the model.
| | 10:11 | I also want to rotate the model in a few
different angles just so that I can get
| | 10:22 | a different view on it. So I want to
clean up this little bald spot here on the
| | 10:30 | back, so I am just going to bring in
this photograph over this area too and just
| | 10:38 | as always, just paint out those bald
spots and those errors and those little
| | 10:41 | weird things that happen.
| | 10:45 | So I could continue doing this
all day, but you get the idea.
| | 10:47 | Let's get a view of the
model from the front side.
| | 10:54 | So now that we have got lots of nice
polypainting in this model, we could export
| | 10:57 | this as texture map, for
example, and use it in games.
| | 11:01 | When you are all done, you can hit Z
to go back into the Spotlight and just
| | 11:04 | click the X here to make
sure you are closed out of it.
| | 11:07 | This method of texturing models is
used all the time in the film and the
| | 11:11 | video game industries.
| | 11:12 | It's fast and can result in
really high-quality textures.
| | Collapse this transcript |
|
|
8. Retopology: Making Riggable ModelsDrawing new edge flow for retopology| 00:00 | Topology is the way that
polygons make up the surface of a model.
| | 00:04 | Let's go up the exercise
file to understand this better.
| | 00:07 | I am going to bring in the
pretopo.ZTL, and let's just click and drag, bring
| | 00:12 | it into the canvas.
| | 00:14 | I'm going to go into Edit mode.
| | 00:15 | Let's get rid of the
Light Box. That's just in the way.
| | 00:18 | I am going to hit F to show it
full screen, and let's hit D a few times to go up
| | 00:24 | to the highest subdivision level.
| | 00:30 | And let's turn on polyframe by
hitting Shift+F. As you can see, the topology
| | 00:35 | has nothing to do with the actual
structure of the face or the way it would
| | 00:39 | deform if animated.
| | 00:41 | What re-topology allows you to do is
maintain the same shapes and anatomy but
| | 00:46 | change the way the polygons are
structured, so that they complement the anatomy.
| | 00:51 | Before we create the new topology, we
need to understand where it should go.
| | 00:55 | We are going to draw some guidelines
on the face to help us understand what a
| | 00:59 | good topology would look like.
| | 01:01 | We are just going to set up
polypainting, so that we can draw these lines on.
| | 01:06 | Go ahead and open the
Polypaint submenu and turn on Colorize.
| | 01:10 | We are also going to shrink
the brush size down to two pixels.
| | 01:14 | We are just going to make really fine lines.
| | 01:16 | In order to paint with color, we need
to turn RGB on and Zadd off, so that
| | 01:21 | we're not sculpting.
| | 01:24 | Right now, the model is white, so we are
just seeing the base material color, but
| | 01:28 | we want to paint with a different color,
| | 01:29 | so I am just going to switch to black.
| | 01:33 | And let's get the existing topology to
disappear, so it is not getting in the way,
| | 01:37 | just hitting Shift+F.
Now are ready to paint.
| | 01:40 | So where should our new topology go?
| | 01:42 | In character animation, setup artists
and modelers use a principle called edge
| | 01:47 | flow to determine where the polygons should go.
| | 01:50 | Edge flow is a way of
relating the topology to the anatomy.
| | 01:54 | For additional information on edge flow,
check out my lynda course on modeling a
| | 01:58 | character in Maya 2011.
| | 02:00 | Now some things to take into
consideration are where creases form.
| | 02:04 | So let's look a little bit
closer here on the model.
| | 02:07 | There are some pretty obvious places where we
can decide where the new edge flow should go.
| | 02:12 | For example, there's a nice sharp
crease right here in the laugh line.
| | 02:15 | So I just want to draw out
a line over the laugh line.
| | 02:20 | I am using a mouse, so it is kind of
hard to get a nice quick clean line.
| | 02:23 | I usually use a Wacom tablet here.
| | 02:24 | Having the edge flow follow
creases will help maintain their shape.
| | 02:29 | So I am just going to pick out a few
other places where creases are forming.
| | 02:34 | Pretty obvious one there. Around the
lips it is pretty easy to see, and it
| | 02:39 | doesn't have to be perfect.
| | 02:40 | This is just kind of a guide to help us
lay out the edge flow in the later video.
| | 02:44 | I am just picking up everywhere
that obvious creases are forming.
| | 02:49 | See the bags under the eyes.
| | 02:53 | The lower eyelid is pretty clear to see.
| | 02:54 | It's a nice deep crease right here
where the brow hangs over the upper eyelid.
| | 03:03 | It looks like there is a nice
strong crease right here.
| | 03:10 | All right, so that's looking for creases.
| | 03:16 | Another thing you want to look for is the
directional movement of flesh and muscle.
| | 03:20 | When the body moves, the skin
pulls in various directions.
| | 03:24 | Understanding what direction the skin
moves will help you place your edge flow.
| | 03:29 | So, for example, if this character is
going to smile, the flesh around the mouth
| | 03:34 | and the cheeks is going to pull upwards and out.
| | 03:37 | So you want to draw lines in the
direction that flesh will move.
| | 03:40 | A lot of times these lines are going
to be perpendicular to the crease lines.
| | 03:46 | So if you smile, the flesh is
going to move out like this.
| | 03:48 | Let's say you squint.
| | 03:51 | The eye bag and the lower
eye-lid is going to move up.
| | 03:54 | If you raise the brow up, this flesh
right up here is going to move up as well.
| | 04:01 | Or if you furrow your brow, the
flesh is going to move downwards.
| | 04:12 | And let's look around the mouth.
| | 04:13 | Of course, if you purse your lips or
you open the mouth, that flesh is going
| | 04:19 | to move up and away.
| | 04:32 | And creases are going to form on the forehead.
| | 04:34 | It is also a direction
that a lot of flesh moves,
| | 04:37 | so it is pretty to assume that we are
going to have edges going directly across
| | 04:41 | this way. And the brow will raise up,
| | 04:43 | so I guess we can continue these
lines up across the brow and the forehead.
| | 04:50 | Something else to look
for is obvious structures.
| | 04:53 | Anatomy often has a clear direction to it.
| | 04:55 | Bones, limbs, and muscles can be
indicators of where to place edge flow.
| | 05:00 | So if we are just going to follow
obvious structures, you can see the brow.
| | 05:04 | It is pretty clear.
| | 05:05 | It is easy to see. Another place is the nose.
| | 05:10 | It is nice clear direction to the nose.
| | 05:16 | The jaws on this model particularly,
| | 05:18 | it is nice sharp jawline,
| | 05:20 | it is really easy to see where this should go.
| | 05:29 | There is a thing called the zygomatic arch.
| | 05:31 | It is kind of the cheekbone.
You see that it is a nice feature to follow.
| | 05:44 | Obvious loops, like around the nostrils,
are a really good place to put edge flow.
| | 05:47 | All right, let's zoom out
and take a look at this.
| | 05:52 | Something else you want to
do is play Connect the Dots.
| | 05:55 | Some parts of the anatomy will be
harder to figure out than others.
| | 05:59 | Do the more obvious parts first and
then see if you can bridge across the
| | 06:02 | less obvious spaces between them.
| | 06:04 | So we have got some open
spaces where not a lot is going on.
| | 06:07 | It is easy to see that a lot of these
lines are going to connect up with each other.
| | 06:12 | So let's see. Maybe this line from the
mouth is going to go up into the eye, and
| | 06:18 | you could either maybe connect it up
with this one that's existing already.
| | 06:21 | So let's say maybe we will just
make this edge into one single edge.
| | 06:25 | Then you could go into SwitchColor and
erase this part that we don't want anymore.
| | 06:29 | It is okay if it is a little bit messy,
| | 06:31 | just as long as you can tell
where things are supposed to go.
| | 06:33 | I'm just going to connect up a few more of these.
| | 06:38 | Another way to fill in gaps is to see
where edges are parallel to each other.
| | 06:42 | It's probably a good indication that
there's going to be more edges in between them.
| | 06:46 | We can also continue loops around.
| | 06:48 | They are called edge loops for a reason,
because they usually loop and connect
| | 06:53 | up on another area of the model.
| | 06:59 | Also, another good thing to
do is just continue edges.
| | 07:01 | If you're not sure what to do, you can
just take an edge and continue drawing it
| | 07:05 | out in the same direction.
| | 07:08 | Probably a good chance that
there should be an edge right here.
| | 07:10 | You know, there is this one here and
this one, so another edge in between is
| | 07:14 | probably a good idea.
| | 07:15 | I am just going to take a few minutes
to continue some of these other edges.
| | 07:21 | Another good thing to do is get ideas
from looking at other people's models.
| | 07:26 | There is lots of professionals who post
their work online with edge flow visible.
| | 07:29 | They are called wireframes.
| | 07:31 | Study what they do, but understand that
there's not just one right way to do it.
| | 07:36 | As you get more experienced with edge flow
and re-topology, you might skip this step.
| | 07:41 | I still like to do it myself
sometimes when the model is
| | 07:44 | particularly complicated.
| | 07:45 | It is faster and easier to make changes
at this stage than it will be later on
| | 07:49 | when we actually build a new topology.
| | Collapse this transcript |
| Tips for making good edge flow| 00:00 | Edge flow can be a
challenging thing to get right.
| | 00:03 | There's the theory behind it that I
mentioned in the last movie, but there's also
| | 00:07 | a lot of practice and experimentation that
goes into a thorough understanding of it.
| | 00:11 | Hopefully, with the following tips you
will gain a better understanding of what
| | 00:14 | goes into good edge flow.
| | 00:17 | Let's open up the head_linesdrawn
exercise file to look at what a finished edge
| | 00:21 | flow drawing looks like.
| | 00:23 | It's a Ztool, so I have to click
and drag to bring into the canvas.
| | 00:26 | Let's go into Edit mode and
I'm going to hide the Light Box.
| | 00:29 | I'm going to hit F, so we can see it full screen.
| | 00:32 | Okay, so I use different colors than
you saw on the last video, but it's
| | 00:37 | the same thing really.
| | 00:38 | The first thing I want to
talk about is keeping it clean.
| | 00:41 | This means to avoid the temptation to
follow every little detail, and instead
| | 00:45 | focus on just the things that
have a structural significance.
| | 00:48 | So you see all the major structures of the
face have been followed with edge flow lines.
| | 00:55 | However, I want to zoom in here on
one thing and note how I didn't follow
| | 00:59 | every little detail.
| | 01:00 | So you see there's this little line
here on the bridge of the nose area? Little
| | 01:04 | things like that can sometimes
distracts from the big picture.
| | 01:09 | You don't need to follow every little detail;
| | 01:11 | it's just the bigger forms.
| | 01:13 | It's about following the structures
that are actually going to move and change
| | 01:17 | when they're animated.
| | 01:20 | Something else to keep in mind is
keeping it roughly even and proportional.
| | 01:25 | Keeping every single polygon a perfect
square is impossible, but you should try
| | 01:28 | to avoid making any polygons that are
more than twice as long on one side than
| | 01:32 | they are in another.
| | 01:33 | So you see most of these polygons are
roughly square. Some of them are longer, a
| | 01:38 | little shorter, but mostly square.
| | 01:40 | Now there is one big exception to this.
| | 01:43 | You want to make edges closer
together at creases and tight areas.
| | 01:47 | So you look here in the laugh line.
| | 01:48 | We've got edges that are closer together.
| | 01:50 | Same thing around these creases around the eye.
| | 01:52 | They are really helping
to hold that crease shape.
| | 01:56 | It's okay to have long polygons in
these instances, because you want the model
| | 02:00 | to be able to retain these long finer lines.
| | 02:05 | You also want to avoid making abrupt
changes in scale with small polygons
| | 02:10 | next to really big ones.
| | 02:11 | It's okay to have small polygons in
areas of tight detail, like around here in
| | 02:16 | the corner of the eye or in the nostrils,
and then you want to have bigger ones
| | 02:21 | in big broad areas where
not so much is happening.
| | 02:23 | The important thing is to make a
gradual transition from one to the other.
| | 02:28 | Something else you want to do is avoid poles.
| | 02:31 | Poles are when you have six or
more edges meeting in one spot.
| | 02:36 | It's like the grid lines on a
globe meeting at the North Pole.
| | 02:40 | Poles are difficult to sculpt and rig properly.
| | 02:43 | So I don't think I have any poles in this model.
| | 02:46 | It's pretty free of that problem.
| | 02:48 | But I do want to point out that there
are places where you're going to have five
| | 02:51 | edges meeting in one spot.
| | 02:53 | So, for example, right here. Down here
on the jaw line you've got another one,
| | 02:58 | and back here behind the jaw there is
another area where five edges meet in one spot.
| | 03:02 | It's impossible to entirely avoid those
five-pointed stars as they're called, but
| | 03:08 | what you really don't want to do is
have six or more edges meeting in one spot.
| | 03:13 | That can cause weird pinches to
form as you're sculpting, and it makes
| | 03:17 | it difficult to rig.
| | 03:19 | Notice all of these polygons are four-sided.
| | 03:21 | A few triangles are actually okay,
but use rectangles when feasible.
| | 03:27 | When a model is subdivided,
triangles actually turn into rectangles.
| | 03:31 | So one thing you can do is
intentionally retopologize with triangles and then
| | 03:36 | when it subdivides all those
triangles will turn into four-sided polygons.
| | 03:41 | Another good thing to do is retopologize
at a lower density than you know you're
| | 03:46 | going to need and then export at a
higher subdivision level for animating.
| | 03:52 | It's also a lot less work to
retopologize fewer polygons than it is to
| | 03:57 | retopologize when you have
drawn out a lot more lines.
| | 04:02 | Now this edge flow drawing is not perfect.
| | 04:04 | There are some things I would want to change.
| | 04:05 | So, for example, there is
this one edge right here
| | 04:08 | that's going a little closer to this
edge next to it than the other one.
| | 04:12 | Something I would want to do is fix
this by redrawing this line so it's a
| | 04:15 | little more centered.
| | 04:17 | Something else I would want to fix
is to look out for faces like this.
| | 04:21 | This is actually going to end up being a
five-sided polygon, and we don't want that.
| | 04:25 | So you would want to find a way to split
this maybe into two four-sided polygons
| | 04:31 | or maybe a triangle and a four-sided polygon.
| | 04:34 | Maybe you could draw an edge from this
point and take it up into the nostril,
| | 04:38 | something like that.
Experiment with it. See what works.
| | 04:41 | Something else I probably would want
to do before I go into retopology is to
| | 04:44 | spread out these edges
right here across the nose.
| | 04:46 | They are all kind of bunching up in one spot.
| | 04:48 | I'd probably try to bring this one up
higher, just kind of scoot all these up,
| | 04:53 | and some of these down, just so that
they're not all bunched up right here.
| | 04:58 | Keeping these tips in mind will help
not just with retopologizing models in
| | 05:02 | ZBrush, but with any kind of 3D modeling.
| | 05:05 | It's a lot to remember, I know, but the
more you practice it, the more you'll
| | 05:09 | internalize these rules, and beautiful
topology will come naturally to you.
| | Collapse this transcript |
| Creating new topology| 00:00 | Now that we have planned out our new
topology, it's time to actually create the
| | 00:04 | polygons that will
conform to the proper edge flow.
| | 00:07 | Pay close attention here; the way to
do this involves some strange steps.
| | 00:12 | It's one of those processes that
Pixologic has cobbled together from various
| | 00:16 | leftovers of other features.
| | 00:19 | But if you memorize these steps, you
will be able to take advantage of this very
| | 00:23 | powerful way to turn a sculpted model
into something that can be animated.
| | 00:27 | All right, now let's go through the steps.
| | 00:30 | The first thing you do is go into the
Subtool sub-palette and click Append.
| | 00:35 | We are going to bring in a ZSphere.
| | 00:37 | I know it doesn't make much
sense, but just stick with me here.
| | 00:41 | Let's make sure we have got this
ZSphere selected in our subtool, and let's
| | 00:46 | see the head disappear.
| | 00:47 | Let's just make sure that's visible again.
What we want to do is shrink this down.
| | 00:51 | So I am going to go into Scale mode and
just click and drag on the ZSphere until
| | 00:56 | we can't see it anymore.
| | 00:57 | Good. And just go back into Draw mode.
| | 01:01 | Now we open up the Topology
sub-palette and click Edit Topology.
| | 01:09 | ZBrush automatically switches into
Orthographic mode, or turns off Perspective mode.
| | 01:15 | Now we just need to click on the model
to place new vertices, edges, and polygons.
| | 01:20 | Let me zoom in here.
| | 01:22 | So just clicking on the model, it's
going to create vertices and connect them
| | 01:27 | with edges, and then when you
close them off, it creates a polygon.
| | 01:30 | Now there are a few things
to remember as you do this.
| | 01:34 | New edges will be connected to the
vertex that has a red circle around it.
| | 01:39 | That's usually the last vertex that was created.
| | 01:41 | So you can see there is one vertex here.
| | 01:43 | It has a red circle around it.
| | 01:45 | Wherever I click, the new vertex is
going to be connected to the red one.
| | 01:56 | Now, let's say you don't want to
continue making new edges from this red vertex;
| | 02:01 | you want to start from somewhere else.
| | 02:02 | The way you do that is you just
click once out into the open area.
| | 02:06 | Now you can start making a
vertex anywhere you want.
| | 02:15 | If you don't like where a vertex is,
you can delete it by holding down Alt
| | 02:19 | as you click on it.
| | 02:22 | Sometimes deleting a vertex will
delete a vertex or two next to it.
| | 02:26 | It's kind of annoying because it
might delete vertices that you don't want to
| | 02:29 | delete, but you just have to
redraw them. It's annoying.
| | 02:33 | If you click on a line segment, you
will insert a new vertex that cuts
| | 02:37 | the segment in two.
| | 02:39 | So you see right here, if we hover the
mouse over this edge right here, it's
| | 02:44 | showing us a preview of where
a new vertex will be inserted.
| | 02:47 | Just click on it, and then you can
click again on another edge, and it's going
| | 02:52 | to split those in two.
| | 02:55 | You can get a preview of what the new
model will look like by hitting the A key.
| | 02:59 | It can be hard to see right now what's
going on, so I am just going to go up
| | 03:03 | into the Subtool
sub-palette and let's hide the head.
| | 03:07 | So there is not a lot to see right now,
but if you had fleshed out more of the
| | 03:11 | face, you would see the new topology and the
new model. Hopefully, everything is looking good.
| | 03:15 | This can show you if there is any problems.
| | 03:17 | Sometimes ZBrush doesn't quite interpret how
you created the new polygons in an accurate way.
| | 03:22 | So this will show you if there is a
problem. Then you can go in and delete some
| | 03:25 | edges or some vertices and
then try drawing it again.
| | 03:28 | Let me just hit A to go back into Topology mode.
| | 03:32 | Make sure you've got your head subtool
visible, and then you can continue working.
| | 03:35 | So go ahead and take some time to flesh
out this entire face with new topology.
| | 03:42 | Even though it's cumbersome, it can be
a powerful way to turn a model with bad
| | 03:46 | topology into one that
can be rigged and animated.
| | 03:49 | Even if a model will never be animated,
this process can make a model have a
| | 03:52 | much more efficient and clean topology.
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| Transferring detail from the old model to the new| 00:00 | Once the new topology has been built
around the original model, we can convert
| | 00:04 | it to a polygon mesh.
| | 00:06 | Then we can shrink-wrap the new model
around the old to pick up its details.
| | 00:11 | Let's open the head_retopo.ztl file.
| | 00:13 | I am just going to click and drag this
out into the canvas and go into Edit mode.
| | 00:17 | Let's also make Light Box go away.
| | 00:20 | I am going to hit F so we
can see the full head on screen.
| | 00:24 | Now let's open up the Subtool
sub-palette and make sure we've got the ZSphere
| | 00:29 | as the active subtool. Okay it is; that's good.
| | 00:31 | Now let's go down to Topology
and let's click Edit Topology.
| | 00:36 | So anytime you save your retopology in
progress, you can always go back to where
| | 00:41 | you were working by clicking Edit
Topology with the ZSphere subtool active, and
| | 00:46 | then you can pick it up and continue to
retopologize from wherever you left off.
| | 00:50 | I have got enough of it done now to
demonstrate however, so we are just going to
| | 00:55 | continue from this point.
| | 00:57 | Open up the Adaptive Skin sub-palette.
| | 00:59 | This section controls how the
retopology will be converted into a
| | 01:04 | standard polygon model.
| | 01:05 | There is really no need to change any of the
settings as it works pretty well by default.
| | 01:09 | All we need to do is click
the Make Adaptive Skin button.
| | 01:12 | It doesn't seem like anything changed,
but if you look up in the toolbox, you see
| | 01:17 | that there's a new model called Skin ZSphere.
| | 01:23 | Before we deal with that, however,
let's make the original head the active
| | 01:27 | subtool and hide the retopology.
| | 01:29 | So I am going to go back into the
original head, and let's make this active and
| | 01:34 | hide the retopology.
| | 01:36 | Now we need to append the newly created
face to the current Ztool as a subtool
| | 01:42 | in order to protect the detail on to it.
| | 01:45 | So I am going to go down here
in the subtool and click Append.
| | 01:49 | We will grab that new mesh and look up
here, and yep, brought it in as a subtool.
| | 01:55 | So we want to make sure that this
subtool is active because this is the one that
| | 02:00 | is going to be wrapped onto the old head.
| | 02:04 | In the Subtool sub-palette,
there is a button called Project All.
| | 02:08 | It takes the active subtool and
shrink-wraps it to conform to any other visible subtools.
| | 02:13 | So let's see what happens.
| | 02:14 | Now it asks us if we want to
project any polypaint data as well,
| | 02:20 | any coloring, any painting.
| | 02:22 | In this case no, I don't want to,
because it would just project all those lines
| | 02:25 | and I don't really need
the painted lines anymore.
| | 02:29 | Cool so I just projected the new
model on to the old, so I picked up some
| | 02:33 | more of that detail.
| | 02:36 | Let's just hide the old model
really quick and take a look at this.
| | 02:39 | Okay, so that's looking pretty good.
| | 02:42 | We want to capture even more data, so
let's add another subdivision to this head.
| | 02:47 | So I am going to hit Ctrl+D
to subdivide it one more time.
| | 02:49 | Let's make sure we have got the old
head visible so that when we project it we
| | 02:55 | can get even more information. And it
asks me the same thing. No, I don't want to
| | 03:01 | project the polypainting.
| | 03:02 | All right, that's cool. So we could
continue to subdivide this new mesh and
| | 03:07 | project to keep picking up more and more detail.
| | 03:12 | Now every once in a while when your
projecting you will have a problem. Luckily
| | 03:15 | we didn't have it this time,
but sometimes what happens is in really tight areas
| | 03:20 | what you will see is that sometimes the
mesh will get confused and ZBrush will
| | 03:24 | have some vertices like shooting over
across to the other side, and sometimes
| | 03:29 | weird things will happen.
| | 03:30 | So if that happens, just undo the
Project All, and then you will just want to
| | 03:35 | paint a mask, just hold down Ctrl
and paint a mask over any areas that were
| | 03:39 | giving you problems. That way when you
hit Project All again, those areas will be
| | 03:44 | ignored and only the
unmasked area will be projected.
| | 03:47 | That means that you will lose a
little bit of detail, but it's better than
| | 03:51 | having something that's completely useless.
| | 03:54 | In addition to retopologizing a model,
the Project All feature in ZBrush can be
| | 03:59 | used in all kinds of situations to get one
model to pick up detail and form from another.
| | 04:05 | It could be used to form clothing to a
figure or transfer color information from
| | 04:09 | one object to another. It's really
only limited by your imagination.
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|
|
9. UV Layout and MapsUnderstanding the UV maps| 00:00 | ZBrush paints color on models
using a technology called polypainting.
| | 00:05 | This means that every polygon of the
model can be given a different color.
| | 00:09 | However, most 3D applications,
from games to films, use a technology
| | 00:13 | called texture mapping.
| | 00:15 | This means that all color information
is stored in a 2D image file that gets
| | 00:20 | wrapped around a 3D model.
| | 00:21 | It's just like a map of the Earth,
where a flat image represents the surface of
| | 00:26 | a three-dimensional object. And like a
map of the Earth, there are many different
| | 00:31 | ways to cut it up and flatten it out.
| | 00:34 | The way that a 3D object is flattened
into a 2D space is called UV mapping.
| | 00:39 | UV is just a coordinate system like
latitude and longitude, or X and Y. Software
| | 00:45 | like ZBrush uses the letters U and V
for texture mapping because X and Y, along
| | 00:50 | with Z, are already used for a 3D space.
| | 00:53 | Let's take a look at what a
texture map actually looks like.
| | 00:57 | I am just going to open up the
exercise file for this movie, and let's
| | 01:05 | close down the Light Box.
| | 01:06 | I also want to go up to the highest
subdivision level, so we can see all of our detail.
| | 01:10 | I'll explain what I'm doing in a later
movie, but for just right now I just want
| | 01:15 | to show you how all of the color
information from this model has been cut up and
| | 01:21 | stored in UV space in a texture map.
| | 01:25 | So the exact positions of all these
different objects, like the pants and the
| | 01:29 | body and the head and everything,
could be arranged totally different.
| | 01:33 | And that's the UV space.
| | 01:34 | The texture map is the actual color
information that goes on that space.
| | 01:38 | It's a very critical difference
I just really want to make clear.
| | 01:41 | Now let's expand the UV Map sub-palette.
| | 01:45 | There are lots of controls in here,
but the only thing you really need to use
| | 01:51 | is the UV Map Size.
| | 01:53 | You can click one of these
preset sizes or type in a custom size.
| | 02:00 | The size you choose is up to you, really.
| | 02:02 | I mean it depends on your needs.
| | 02:04 | A higher-resolution map will contain
more detail, but it may take up more memory.
| | 02:08 | The default of 2048 is
usually a good middle ground.
| | 02:12 | Texture maps are always made square in ZBrush.
| | 02:16 | The number refers to how many
pixels wide and tall it will be.
| | 02:20 | Be aware that changing this number
doesn't affect any maps that have already
| | 02:23 | been made, but any new maps will
use these settings when they're made.
| | 02:28 | Understanding UV maps is critical when color
or texture detail is exported to other programs.
| | 02:34 | If a model is saved or exported, the UV
maps are automatically included in the file.
| | 02:40 | However, texture maps, meaning any
color information that has been painted onto
| | 02:44 | the maps, has to be exported separately.
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| Installing the UV Master plug-in| 00:00 | UV Master is a plug-in for ZBrush
that you can download for free from
| | 00:04 | the Pixologic web site.
| | 00:06 | It creates UV maps for you by
cutting up and flattening a 3D model.
| | 00:10 | Before we can use it, we have to
install it because it's not part of the
| | 00:14 | main ZBrush software.
| | 00:15 | ZBrush needs to be closed
in order to install plug-ins,
| | 00:18 | so make sure you do that
first if you have that open.
| | 00:20 | Now let's go to the
Internet and download the plug-in.
| | 00:24 | Go to pixologic.com.
| | 00:25 | Now we need to go into the
ZBrush menu here and click Downloads.
| | 00:32 | Now click ZBrush Plugins down at the
bottom. And if you scroll down, you can see
| | 00:37 | that there's lots of plug-ins to choose from.
| | 00:38 | The one we want is UV Master.
| | 00:40 | Go ahead and choose your operating system.
| | 00:43 | I'm on a Mac, so I'll click this one, and I'm
just going to save this file to the hard drive.
| | 00:48 | You want to make sure that you
have some way to open zip files.
| | 00:52 | If you don't have a program for that already,
| | 00:54 | there are many free options to be
found online. And I'll just right-click on
| | 00:58 | this, show it in finder, and we'll unzip it.
| | 01:03 | Okay, so inside that zip, there is this
file here and a folder with another file.
| | 01:08 | We are just going to select
these two and right-click and copy.
| | 01:13 | Now, I need to navigate to the ZBrush
Program folder, and inside this folder,
| | 01:19 | there's going to be another folder
called ZStartup. And there is ZPlugs and I
| | 01:25 | just want to right-click and
paste directly into here. All right!
| | 01:30 | Let's restart ZBrush and hopefully,
if we did everything correctly, the
| | 01:33 | plug-in will be available.
| | 01:34 | All right, let's look up in the Zplugin menu.
| | 01:38 | All right, there it is, UV Master.
| | 01:40 | All of ZBrush's plug-ins installs the same way,
| | 01:43 | so feel free to download and install
any others that you may be interested in.
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| Using UV Master| 00:00 | UV master makes a UV map of 3D models.
| | 00:04 | The result is kind of like a bearskin rug.
| | 00:06 | It's a flat surface for storing color
and other maps in a 2D image that can be
| | 00:11 | exported to other programs.
| | 00:13 | It's easy to use but does involve
a few steps that are worth practicing.
| | 00:17 | Make sure you have got the UV Master plug-
in installed and open up the exercise file.
| | 00:22 | I am going to get the Light Box out of
the way, and you also want to make sure
| | 00:27 | that the model is on its
lowest subdivision level.
| | 00:30 | So let's see, Geometry is on one. That's good.
| | 00:33 | Now go up to the Zplugin menu, and
we'll just dock this to the palette.
| | 00:37 | I am going to click on this button here.
| | 00:40 | Let's expand the UV Master sub-palette.
| | 00:42 | Now there is a lot of options in
here, but let me go through them.
| | 00:46 | You could just click on Unwrap and let UV
Master do its thing, and it will spit out a UV map.
| | 00:52 | It's going to take a few
seconds. Now it's done.
| | 00:59 | Let's go down to the Texture sub-palette >
Texture Map, and see what result we got.
| | 01:05 | If we click on New From UV Map,
ZBrush is going to create a texture map that
| | 01:10 | shows us what the UVs look like.
| | 01:13 | So if you hold the mouse over this
little image here, you can see that it's
| | 01:17 | taken the entire 3D model and it's
flattened it out into a 2D image.
| | 01:22 | The texture that's on the 3D model
also shows you where the seams are.
| | 01:26 | So you see that there are these two
big seams right at the front of the model,
| | 01:30 | and one seam is cutting the head in
half, and usually I'd like to put seams in
| | 01:35 | less conspicuous places.
| | 01:37 | Now let's turn this map off and go
back to the UV Master sub-palette and
| | 01:41 | customize some settings to get a better result.
| | 01:43 | Let's turn on Polygroups by hitting
Shift+F. You can see that I have already
| | 01:52 | split the model's main
parts into separate groups.
| | 01:55 | UV Master can use these groups
to split up the UV map as well.
| | 01:59 | This usually produces a better result
because it doesn't have to flatten out
| | 02:02 | one big shape; instead, it can work on
getting the best result for several smaller shapes.
| | 02:08 | So let's just turn on Polygroups
to take advantage of that option.
| | 02:13 | You can also turn on Use Existing UV Seams.
| | 02:16 | This feature is useful if you've cut
UV seams in a different program and you
| | 02:19 | just want UV Master to do a
neater job of flattening out the map.
| | 02:23 | I don't want to use it this time
because we've already got seams that spread out
| | 02:27 | the entire model into one map,
so that's not useful right now.
| | 02:32 | You could use the Unwrap All button.
| | 02:34 | What that does is it unwraps all the
subtools at once, but I prefer to do them separately.
| | 02:39 | That way I have more
control over the final result.
| | 02:42 | Now that we've activated the Polygroups setting,
let's hit Unwrap again and see what we get.
| | 02:51 | All right! Let's take a few seconds.
| | 02:53 | Let's go back down to Texture Map
and click New From UV Map again.
| | 02:57 | Now you can see the result has broken up
all of the different polygroups that I
| | 03:01 | had and so we are getting seams
in a lot of better places now.
| | 03:05 | Let's just turn off Polygroups,
hitting Shift+F. It actually included the
| | 03:10 | wireframe that I had turned on.
| | 03:11 | Let's make another one with
that turned off. New From UV Map.
| | 03:15 | Okay, so it's a little easier to see now.
| | 03:17 | So the seams are in less conspicuous places.
| | 03:19 | Now we are not cutting one right across
the middle of the face, and it is cutting
| | 03:24 | seams in places like around the belt
where there is a natural seem anyway, and
| | 03:28 | around the hill of pants, so
that's a good place to put seams.
| | 03:32 | UV Master is great at doing a fast
general-purpose UV Map, but if you need a
| | 03:37 | highly efficient map for things like
games where every pixel counts, you'll be
| | 03:41 | better off laying out the UVs in a program
that is more dedicated to that purpose.
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| Creating texture maps| 00:00 | All kinds of surface qualities can be
extracted from the model and translated to
| | 00:05 | 2D maps that are used in other applications.
| | 00:08 | Color of course is the easiest to understand.
| | 00:11 | There are other map types, like
normal maps and displacement maps, that can
| | 00:14 | re-create falling details from the
high subdivision levels and then make them
| | 00:18 | visible on a lower-resolution model.
| | 00:20 | Now let's open up the Texture Map sub-palette.
| | 00:26 | To make a color texture map, we are
going to take the polypainting that already
| | 00:30 | exists on the model and transfer it
to a 2D image based on the UV map.
| | 00:34 | Let's click New From Polypaint.
| | 00:39 | The result we get is a low-detail map.
| | 00:42 | This is because the model is
currently at a low subdivision level and the
| | 00:46 | texture map will only pick up
whatever color is currently visible.
| | 00:50 | Let's go up to the highest
subdivision level and try again.
| | 00:58 | One thing you might notice is that since
we are on the highest subdivision level
| | 01:02 | we should be seeing all the
fine detail, but we're not.
| | 01:05 | That's because Texture Map is on.
| | 01:07 | Let's turn this off.
| | 01:08 | The texture map was
covering up the Polypainting.
| | 01:11 | Now with that off we can see all the
detail that's inherent to this model.
| | 01:14 | Now let's create a new map from Polypaint.
| | 01:19 | Now that has much more detail in it.
| | 01:22 | Another way to generate a map is by masking.
| | 01:25 | So let's turn off this texture map and I
also want to get rid of the color for now.
| | 01:30 | So open up all the Polypaint and
turn off Colorize, so we just see the model
| | 01:35 | itself without any polypainting on it.
| | 01:38 | Now let's make a mask based on cavity.
| | 01:40 | I am just going to use the default
settings and click Mask By Cavity.
| | 01:43 | So you can see what it's done is it's
created a mask in any place where there's
| | 01:49 | a crease or a depression
or any sort of a cavity.
| | 01:53 | You could see how it's darker. That means
it's masked off inside of those creases.
| | 01:57 | Now let's go down to the Texture Map
sub-palette and click New From Masking.
| | 02:02 | So now we've got a new map that was
generated from all the crevices and
| | 02:07 | creases in this model.
| | 02:09 | This type of map is really useful for
rendering in other types of programs.
| | 02:14 | You can use it to automatically darken
crevices, tell it not to be shining down
| | 02:18 | inside those creases.
| | 02:19 | It really is a nice way to bump
up the level of realism in a model.
| | 02:23 | Let's make this map go away for now too,
and I am going to hit Ctrl+Shift+A to
| | 02:30 | remove all the masking.
| | 02:32 | Let's talk about normal and displacement maps.
| | 02:34 | Those are maps that are used to make a
low-poly model look like it has all the
| | 02:38 | detail of a high-poly model.
| | 02:40 | The settings you use depend on how
you plan to use them and what programs
| | 02:44 | they will be used in.
| | 02:45 | So, for example, let's open
up the Normal Map sub-palette.
| | 02:49 | Unless you know what you're doing with these
settings, it's best to leave them as they are.
| | 02:55 | Let's make a normal map by
just clicking Create NormalMap.
| | 02:58 | Now we get this little pop-up. It tells
us that the map cannot be created while
| | 03:03 | the highest subdivision-level is active.
| | 03:05 | That's because normal map and
displacement map compare the highest subdivision
| | 03:09 | level to the current subdivision level.
| | 03:12 | If I'm currently on the highest
subdivision level, there's nothing to compare.
| | 03:16 | So let's go down with the lowest
subdivision level, and we'll try that again.
| | 03:23 | So now you get this really
cool, funky, colorful map.
| | 03:31 | This is going to tell other programs
like Maya or 3D Studio MAX how the high-
| | 03:37 | resolution information should look.
| | 03:39 | So you can map this onto a low-poly
model and it will look like it has all that
| | 03:43 | high-texture detail.
| | 03:49 | Let's do the same thing for a displacement map.
| | 03:51 | ZBrush actually turns on the texture map
every time you create a new map. Even if
| | 03:58 | it's not a texture map, if it's a
normal map, ZBrush will just turn this on.
| | 04:02 | So I am going to turn that off again.
| | 04:03 | Let's make a displacement
map and it creates DispMap.
| | 04:10 | Displacement map is similar to a
normal map except that it's telling a 3D
| | 04:14 | program how much the surface detail
is pushed up or pushed down relative to
| | 04:20 | the low-poly model.
| | 04:22 | Now once you've got a map, it's not very
clear what to do with it or how to save it.
| | 04:26 | There should be a Save button in all
of these palettes, but there's not.
| | 04:31 | The way you save it is by
clicking the Clone button.
| | 04:34 | So in the displacement
map case, it's Clone Disp.
| | 04:37 | You could also do Clone Texture up
in the Texture Map or Clone NM in the
| | 04:42 | Normal Map palette.
| | 04:43 | What this will do is it will transfer
the map over to the Texture palette.
| | 04:49 | Then you can click Export and
save it in any of these formats.
| | 04:56 | Most uses for a ZBrush eventually
result in models and textures being exported
| | 05:00 | for use in other programs,
| | 05:02 | so learning the map-creation process is crucial.
| | 05:05 | Maps can then be further processed in Photoshop.
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|
|
10. TroubleshootingPreventing problems| 00:00 | Unfortunately, like many complicated
pieces of software, ZBrush occasionally
| | 00:05 | saves models with bugs in the
code that cause problems later on.
| | 00:09 | There is ways of both
preventing and repairing these errors.
| | 00:13 | Let's open the DemoSoldier and expand
the Subtool and Geometry sub-palettes.
| | 00:16 | There are two main practices that you
should always get in the habit of doing.
| | 00:25 | One is to save your models on
the lowest subdivision level.
| | 00:29 | This makes it easier for ZBrush to
save and reopen, since all the fine detail
| | 00:34 | doesn't have to move in
and out of memory at once.
| | 00:38 | The way to do this easily is
in the Subtool sub-palette.
| | 00:44 | Click the All Low button.
| | 00:47 | This drops all the subdivision levels of all
the subtools to the lowest level in one click.
| | 00:53 | The second habit is to save your work
often and with sequential version numbers.
| | 00:58 | This means that every time you save
you should make a new file with a
| | 01:01 | new version number.
| | 01:03 | So go up to File and Save As, and now
you could call it DemoSoldier2, and then
| | 01:10 | the next time you save,
DemoSoldier3, and so on and so forth.
| | 01:14 | This is because ZBrush tends to crash
at the worst possible moments. And if your
| | 01:18 | latest save gets corrupted, you can
probably go back to an earlier save.
| | 01:23 | If you save often and in versions,
you'll only lose an hour's worth of work,
| | 01:27 | rather than days or weeks.
| | 01:29 | It may seem like a distraction to save all
the time and keep a sequence of versions going;
| | 01:33 | however, the threat of spending hours
of work to redo what was lost should be
| | 01:38 | enough motivation to
practice these good working habits.
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| Recovering a corrupted model| 00:00 | Sometimes a Ztool may become corrupted and
there is not a previous version to fall back on.
| | 00:06 | All hope is not lost.
| | 00:07 | There is a way to extract the
model from the Ztool and restore it.
| | 00:11 | Let's open up the Super Average Man project.
| | 00:16 | Now imagine that the Ztool is corrupted.
| | 00:18 | There is a variety of things that
can go wrong, such as ZBrush crashing
| | 00:22 | often, certain functions stop working,
or the model may do strange things
| | 00:27 | when you sculpt on it.
| | 00:28 | There's no way to list them all, but
whatever the glitch, there is one solution
| | 00:32 | that usually fixes it.
| | 00:33 | You can export the model as an OBJ
and then import it into a new Ztool.
| | 00:38 | Let's go through the steps.
| | 00:41 | Make sure that your model is on the
highest subdivision level. When we export,
| | 00:45 | only one subdivision level can go out,
so if you choose a lower one, you'll
| | 00:50 | lose any finer detail.
| | 00:53 | Click on Export in the Tool
menu and save it anywhere you want.
| | 00:57 | I'm going to save it on the desktop.
| | 01:04 | Now close ZBrush and restart. Sometimes
the bug will be in the software and it
| | 01:09 | will corrupt any model that is opened,
so make sure that you're working with a
| | 01:13 | fresh restart of ZBrush.
| | 01:20 | Now let's click on Import to get the
mesh that we just exported and just click
| | 01:29 | and drag it into the canvas
and go into the Edit mode.
| | 01:32 | In order to get our subdivision
levels back, let's expand the Geometry
| | 01:36 | sub-palette and click Reconstruct Subdiv.
| | 01:43 | This is going to examine the model
and see if its structure is based on a
| | 01:47 | lower subdivision level.
| | 01:49 | You can see we've just got
another subdivision level out of this.
| | 01:53 | Continue to Reconstruct subdiv levels,
until it won't reconstruct anymore.
| | 01:58 | Then save it as a new Ztool tool.
| | 02:00 | So I clicked it one more time, and you
can see it says, "Unable to reconstruct
| | 02:04 | lower sub-div level, operation canceled."
| | 02:06 | That means that there is no lower
subdivision level to reconstruct.
| | 02:12 | And now it's a good idea
to save it as a new tool.
| | 02:16 | Usually, this procedure will fix odd
behaviors and corruptions that can be seen
| | 02:21 | in ZBrush and in Ztools.
| | 02:22 | It can save you a lot of work if you
don't have a backup or previous version
| | 02:27 | to fall back on.
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| Recognizing and fixing common problems| 00:00 | ZBrush includes a few particularly
irritating bugs that either pop up all the
| | 00:05 | time or seem impossible to fix.
| | 00:07 | Luckily, I'm here to point out the traps
and show you how to recover when you fall in.
| | 00:12 | Now I've got the Super Average Man
loaded up and I did something special to it
| | 00:16 | to make it give me an error.
| | 00:17 | Let's say you want to subdivide this model.
| | 00:19 | So let's go into the Geometry
sub-palette and we'll click Divide.
| | 00:23 | Sometimes you'll get this little
error message that says, "A 3D Mesh with
| | 00:26 | Subdivision-history may be
partially modified only while the lowest
| | 00:30 | subdivision level is active."
| | 00:32 | Now, actually the message and the
given solution have nothing to do with the
| | 00:36 | problem or how to fix it.
| | 00:38 | The real problem is that you either
have something masked or hidden and you
| | 00:42 | didn't know about it.
| | 00:43 | So what you want to do is hit
Ctrl+Shift+A to clear all your masks, and then
| | 00:48 | hold down Ctrl+Shift and click once
in the canvas to bring back anything
| | 00:53 | that might be hidden.
| | 00:54 | ZBrush won't subdivide if
anything is masked or hidden.
| | 00:58 | Now, subdivision should work just fine.
| | 01:01 | Something else that happens all the
time is that Edit mode accidentally gets
| | 01:05 | turned off, and instead of rotating, you
click and drag on the canvas and ZBrush
| | 01:10 | draws out multiple copies of the tool.
| | 01:12 | Simply clear the canvas with
Ctrl+N and then redraw one copy.
| | 01:17 | Now you can reenter Edit mode.
| | 01:20 | Another issue is that some things that
you do in ZBrush will get undone when you
| | 01:25 | hit Ctrl+Z, even if they
weren't the last thing done.
| | 01:28 | For example, let's say we want to
polypaint some color on the character.
| | 01:34 | We would go down into the
Polypaint submenu and turn on Colorize.
| | 01:39 | So we're just going to go
paint with this color in the model.
| | 01:43 | You accidentally
forgot to put it into RGB mode;
| | 01:49 | it is still in Sculpt mode.
| | 01:51 | So you hit Ctrl+Z to undo that.
| | 01:53 | Notice that colorize got undone, even though
that was the next-to-last thing that we did.
| | 01:58 | There are all kinds of different modes
and settings and buttons you can push in
| | 02:03 | ZBrush that will get undone when you
hit Ctrl+Z even though they weren't the
| | 02:07 | last thing that you did.
| | 02:09 | So just keep an eye out
for situations like this.
| | 02:11 | It can be very confusing and very frustrating.
| | 02:14 | But if you know that that's what
happens, then you know how to fix it.
| | 02:17 | The more you work with the ZBrush,
the better you'll get at avoiding the
| | 02:21 | pitfalls. Until then, just
try to keep from losing your sanity.
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ConclusionExamples of ZBrush work| 00:00 | Now that we're at the end of this course,
I just want to take a few minutes to
| | 00:04 | show you some of the work
I've done in ZBrush.
| | 00:06 | I will talk about the tools and the
techniques that I have used, as well as talk
| | 00:09 | about why I used them.
| | 00:12 | So this is a bull that I sculpted in ZBrush.
| | 00:14 | I actually started with a base mesh from
Maya that is as very simple, rudimentary
| | 00:20 | model built in Maya that I could then
import into ZBrush and then continue to
| | 00:25 | work on and sculpt on.
| | 00:26 | Let me just increase some subdivision
levels, so we can see more of the detail.
| | 00:35 | Now the bull is in an action pose
right now, but it was sculpted mostly along
| | 00:40 | the process in a neutral pose with him
just standing still and his head facing
| | 00:44 | straightforward. Even the tail was sticking
out straight in a completely unnatural line.
| | 00:50 | I did it that way because I didn't
want to have to sculpt all these fine
| | 00:54 | details and muscles independently on one side
and then have to do it again on the other side.
| | 00:59 | I wanted to be able to use symmetry so
that I could sculpt everything on one
| | 01:03 | side and have it be copied over to the side.
| | 01:05 | Then when I was happy with the result,
I used the Transpose tools here in ZBrush
| | 01:11 | to move all of the joints and the body
and the tail and everything into this pose.
| | 01:17 | I also used ZBrush's polypaint
features to give this guy some color.
| | 01:20 | The entire body has one brown color,
but the horns and hoofs have some extra
| | 01:25 | coloration just to set them apart from the body.
| | 01:28 | Let's zoom a little bit closer in, so
we can really look at this texture that
| | 01:33 | I worked into to this.
| | 01:35 | I'll subdivide one more time.
| | 01:37 | This model has over 10 million polygons,
| | 01:40 | so it's kind of pushing this computer
to its limits, but you can see there are
| | 01:43 | all kinds of final grooves and hair clumps.
| | 01:46 | It was a lot of fun to
really texture this model.
| | 01:50 | Okay, so let's look at another image now.
| | 01:54 | This is the diner, and it was done
using a combination of Maya and ZBrush.
| | 01:58 | In case you don't know how Maya
works, it is more of a general 3D
| | 02:03 | application that includes
animation and rendering and rigging, a lot of
| | 02:07 | things that are beyond the scope of ZBrush
which, mostly focuses on modeling and sculpting.
| | 02:12 | Maya was particularly useful for
modeling the hard surface for mechanical objects,
| | 02:18 | such as the motorcycle and
the diner in the background.
| | 02:21 | ZBrush was more useful for the
more organic objects, such as the Rhino
| | 02:25 | himself and his clothing.
| | 02:27 | I also use ZBrush for the snow on the ground.
| | 02:31 | These tracks here were sculpted in using an
alpha that just repeated a footprint texture.
| | 02:38 | In Maya I was also able to set up
lighting and create these glow effects and put
| | 02:44 | the whole scene together and light it
and render it. Then I took into Photoshop
| | 02:48 | and I was able to do color
correction and different effects to bring out
| | 02:52 | different lighting effects
or different snow effects.
| | 02:55 | ZBrush works great with other programs.
| | 02:59 | You can bring it strength of organic
modeling into other programs, which might be
| | 03:03 | better at other things to combine
them into one really stunning image.
| | 03:07 | There is really no limit
what you can do with ZBrush.
| | 03:10 | The tools and techniques can be mixed
in so many creative ways, that really
| | 03:14 | anything is possible.
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| Goodbye| 00:00 | Well, this is it;
we've reached the end of this course.
| | 00:03 | I'm really glad you could
take this journey with me.
| | 00:05 | I hope it's really inspired you to
do some really cool artwork in ZBrush.
| | 00:10 | Now you may be wondering where to take
it from here. The lynda.com library is
| | 00:15 | full of amazing resources that can teach
you how to take your model to the next step.
| | 00:20 | You can learn how to rig, animate,
texture, light, and render in so
| | 00:24 | many different programs.
| | 00:26 | For example, I'm looking at the
animation courses right now on lynda.com.
| | 00:29 | There is all kinds of software like
CINEMA 4D, Maya, Flash, 3ds Max; all of
| | 00:35 | these are very useful.
| | 00:36 | There are 3D-specific courses that
can teach you how to use the basics of
| | 00:40 | other programs and import your models
as OBJs into those programs for rendering
| | 00:45 | and rigging and animation purposes.
| | 00:49 | If you want to use Maya, there is a
great course for that by George Maestri
| | 00:52 | called Maya 2011 Essential Training.
| | 00:54 | That will get you started with
everything you need to know in Maya, so that you
| | 00:58 | can integrate it with all
the work you've done in ZBrush.
| | 01:01 | Also check out the character modeling
course that I've done called Maya 2011
| | 01:05 | Modeling a Character.
| | 01:07 | This one might be useful
| | 01:08 | if you want to start out a character in
Maya and then texture and detail it in ZBrush.
| | 01:14 | Finally, if you want to make your
model look its best, this course on Lighting
| | 01:18 | and Rendering with mental ray will
teach you everything you need to know to
| | 01:22 | texture and shade and light that
model, so that it looks beautiful.
| | 01:24 | Well, thank you again for
following me along with this course.
| | 01:29 | It's been a really great adventure for
me, and I hope it has been for you, too.
| | 01:33 | With any luck, you'll making
amazing models in ZBrush in no time.
| | 01:37 | Best of luck!
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