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ZBrush 4 Essential Training

Understanding brush settings


From:

ZBrush 4 Essential Training

with Ryan Kittleson

Video: Understanding brush settings

Brushes are the things that you've used to sculpt and color your model. They come in many varieties, but they all have some settings in common. Let's open up the DemoDog to have something to work with. So, for example, the size of the brush is shown on screen by the bigger red circle around the cursor. This is something that all brushes have in common. You can change the size of the brush by moving the slider that says Draw Size. You can also use the left and right brackets on the keyboard to grow and shrink the brush size, but only if you're on a PC; sorry Mac people.
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  1. 5m 13s
    1. Welcome
      55s
    2. Using the exercise files
      59s
    3. What is ZBrush?
      1m 47s
    4. A note on screen resolution
      1m 32s
  2. 19m 17s
    1. Making sense of ZBrush
      2m 39s
    2. Understanding the interface
      2m 29s
    3. Using Light Box
      1m 23s
    4. Navigating the canvas
      2m 2s
    5. Using Perspective and Floor
      1m 51s
    6. Understanding local centering
      1m 9s
    7. Trying different materials
      2m 7s
    8. Activating symmetry
      2m 15s
    9. Viewing your work in various ways
      3m 22s
  3. 19m 59s
    1. Understanding polygon-based models
      1m 45s
    2. Creating ZSpheres
      4m 21s
    3. Using ShadowBox
      2m 15s
    4. Making a ZSketch
      2m 47s
    5. Extracting from an existing mesh
      4m 0s
    6. Using primitive 3D meshes
      3m 24s
    7. Importing from other programs
      1m 27s
  4. 23m 43s
    1. Understanding brush settings
      2m 45s
    2. Inverting brush effects
      1m 9s
    3. Switching to Smooth mode
      2m 35s
    4. Setting the stroke properties
      4m 14s
    5. Working with alphas
      2m 34s
    6. Using the Move brush
      2m 51s
    7. Using the Clip brush
      2m 58s
    8. Learning a few more common brushes (Polish, Clay, Flatten, Inflate, Tracks)
      2m 14s
    9. Saving and using brush presets
      2m 23s
  5. 26m 53s
    1. Working with tools and projects
      1m 52s
    2. Working with subdivision levels
      3m 4s
    3. Masking off parts of your model
      2m 28s
    4. Masking based on cavity and occlusion
      4m 23s
    5. Selecting and hiding parts of a tool
      2m 51s
    6. Working with polygroups
      2m 0s
    7. Using deformation
      1m 59s
    8. Mirroring geometry across an axis
      1m 49s
    9. Restoring symmetry
      1m 45s
    10. Creating morph targets
      2m 31s
    11. Understanding surface normal direction
      2m 11s
  6. 8m 57s
    1. Learning the basics of subtools
      2m 37s
    2. Making new subtools
      3m 12s
    3. Combining subtools
      3m 8s
  7. 7m 20s
    1. Masking with Transpose
      1m 49s
    2. Adjusting the Transpose Manipulator
      1m 46s
    3. Moving, scaling, and rotating with Transpose
      3m 45s
  8. 20m 25s
    1. Understanding how ZBrush uses color
      2m 36s
    2. Learning the basics of Spotlight
      3m 37s
    3. Painting and texturing with Spotlight
      2m 56s
    4. Texturing a head: A practical approach
      11m 16s
  9. 21m 14s
    1. Drawing new edge flow for retopology
      7m 52s
    2. Tips for making good edge flow
      5m 14s
    3. Creating new topology
      3m 55s
    4. Transferring detail from the old model to the new
      4m 13s
  10. 13m 28s
    1. Understanding the UV maps
      2m 47s
    2. Installing the UV Master plug-in
      1m 47s
    3. Using UV Master
      3m 46s
    4. Creating texture maps
      5m 8s
  11. 6m 36s
    1. Preventing problems
      1m 42s
    2. Recovering a corrupted model
      2m 28s
    3. Recognizing and fixing common problems
      2m 26s
  12. 4m 54s
    1. Examples of ZBrush work
      3m 16s
    2. Goodbye
      1m 38s

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ZBrush 4 Essential Training
2h 57m Beginner Apr 08, 2011

Viewers: in countries Watching now:

In ZBrush 4 Essential Training, Ryan Kittleson introduces ZBrush to artists making a transition from another sculpting program or who may just need some help with the finer points of this powerful digital arts package. The course covers the most popular tools and techniques for digital painting and sculpting in ZBrush, and explains how to export the models and texture maps to other programs for use in games, film, fine art, or 3D printing. The course also highlights the new features in ZBrush 4, such as ShadowBox, clip brushes, and LightBox. Exercise files are included with the course.

Topics include:
  • Navigating the canvas
  • Using perspective and floor
  • Creating a mesh with a ZSketch
  • Extracting from an existing mesh
  • Managing subdivision levels
  • Working with alphas
  • Masking off parts of a model
  • Using deformation
  • Using subtools
  • Deforming with Transpose
  • Painting and texturing
  • Creating UV maps
Subjects:
3D + Animation Rendering Textures Materials Visual Effects
Software:
ZBrush
Author:
Ryan Kittleson

Understanding brush settings

Brushes are the things that you've used to sculpt and color your model. They come in many varieties, but they all have some settings in common. Let's open up the DemoDog to have something to work with. So, for example, the size of the brush is shown on screen by the bigger red circle around the cursor. This is something that all brushes have in common. You can change the size of the brush by moving the slider that says Draw Size. You can also use the left and right brackets on the keyboard to grow and shrink the brush size, but only if you're on a PC; sorry Mac people.

The smaller red circle around the cursor is called the focal shift. Put simply, it defines what kind of falloff the brush has. If the inner circle is small, the effect of the brush is concentrated in the middle. So I can make it really small. You can see that most of the effect of the brush is happening in the middle. If I make it very large, then the effect of the brush is going to be spread out over most of the area of the brush. I actually don't change this very often from the default. Right in the middle usually works good for most situations.

All brushes also have an intensity-- the higher the number, the more pronounced the effect will be when you sculpt. So right here if I crank up the Intensity, you're going to get a really heavy, pronounced effect from this brush. Let me just undo that with Ctrl+Z, and now let me show you if I bring it down really low, you can barely even see that effect. It's more useful if you want to make very subtle changes. There's also a huge variety of brush types that do all kinds of things to the surface of the model. They can be selected by clicking on the default brush called Standard, up here on the left side.

Then you can click on any of the others to test them out. Some of them are pretty intuitive; others take some time before you really understand what they do. I'll talk about some of the more important specific brushes in the later movies of this chapter. A quick way to access brushes is by pressing B on the keyboard. This brings up the Brush palette. If you're looking for a specific brush, just press the first letter of its name. For example, I am looking for the Inflate brush, so I'll press I. Now, we see only the brushes that begin with the letter I. Each brush also has an orange letter next to the icon.

You can see that Inflate has the letter N, so press N to select the Inflate brush. Each brush can be quickly chosen if you remember its keyboard combination. Anytime you want the Standard brush, for example, quickly type B+S+T and it will be made active. Take a moment to experiment with these settings and get a feel for how they affect the surface of the model. These features are some of the most common controls that you'll be using in ZBrush, so make sure you get comfortable with them.

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