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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.
One of the most common brushes that you'll be using is the Move brush. It grabs parts of your model and pulls them around like they were made of rubber. Let's open up the DemoDog, and to demonstrate let's switch to the Move brush. So I am going to go up here into Standard and let's actually hit M so we isolate all the brushes that begin with M. So here is Move down here. Let's pick this one. If you want to know the keyboard shortcut, that's B+M+B. So very simply, the Move brush moves parts to the model. Let's just click and drag to see the effect. I will just zoom in a little bit here. So you can see you can just move things around, just grab them and pull them.
The size of the brush is crucial here because the bigger the brush, the more gets moved, and the smaller the brush, the smaller the part of the model that gets moved. So let's make this really big, and you can see you can make really dramatic changes to the overall size and proportion of the model. If you go very small, you see you can grab just almost an individual polygon. It's important to know that the movement happens parallel to the viewing plane. So be aware that when you're pulling straight out to the side, you might be pulling at an angle instead. Let me show you what I mean.
I will make the brush a little big bigger here and make this more obvious. Let's say you want to pull out the sides of the dog. So you think you might be pulling straight up to the side. But if you look at it from the top, you can see it's actually an angle. So you just want to be careful. When you think you're pulling out to the side you might actually be pulling at an angle. There are a few different types of Move brushes, but the one I use most is Move Topological. Now let's open this up, and let's go to Move and hit M, and let's see Move Topological. Its shortcut is B+M+G. Now, to demonstrate, I'm going to go into the mouth area of this dog.
Now Move Topological is going to move parts of the model, but wherever there is a gap between parts of the model it's not going to affect. So you can see you can move the lower part of the mouth down and it just barely grabs a little bit of the sides of the mouth. That's the pulling effect you can see on the upper part of the mouth. But really, it's going to leave the upper part of the mouth mostly alone. If you switch back to the regular Move brush, B+M+B, and try to do the same thing, you see you're going to move everything along. But if I switch back to B+M+G--and actually let's shrink the brush just a little bit.
Okay, so now we get a nice clean movement where the upper part of the mouth is not affected at all because there is gap between the lower jaw and the upper jaw. Move is one of the most commonly used brushes. Take advantage of it regularly to reposition, reshape, and refine your model's structure. Just be careful because moving a model out too far can stretch out polygons, and that makes them difficult to work with. So if I were to just increase the size of the brush, then pull this out really far, you can see you're stretching polygons, and that can cause problems later on.
So you don't want to stretch out polygons too far, but for small adjustments Move works great.
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