ZBrush works with essentially three types of objects: models, ZTools, and documents. When creating final rendered images in ZBrush, we’ll make use of the Document settings. For sculpting characters we’ll focus on tools and models. In ZBrush you can work with models, tools, or documents. This tutorial will expose you to many of the ZBrush sculpting brushes, modifiers, and masking tools. You can leave a comment, or trackback from your own site.In this section we’ll explore the ZBrush sculpting tools by creating a lion head door knocker from a 3D Plane tool. You can follow any comments to this entry through the RSS 2.0 feed.
#Zbrush sculpture how to
Some people already asked me how to achieve the slight translucent look in ZBrush (the areas where parts of the leg and arm are shining through) This is just a fake ? I have used polypaint and gave these areas another color as the rest of the mesh.įinally I have exported the highres meshes and made a quick rendering in max. Not everything is as round as it seems…ĭownload Selwy’s cloth brushes +. A good tip is to use the flatten brush from time to time. I was more or less “free styling” when creating the folds. For smooth transitions between the strokes I used a standard clay brush. Copy them in the ZStartup/BrushPresets folder in your Zbrush directory and they should appear in your brush palette after restarting the program.
#Zbrush sculpture download
You can download theses brushes and take a look at the settings. Basically I have just change the gravity strength options, brush mode and the alpha. (Everything else will cause strange mesh distortions)Īfter preparing everything for further sculpting I switched to the highest subdivision level and start working with my tweaked standard brushes. Try to work only on surfaces that are perpendicular to your viewport. Make sure that ZSUB is activated and the brush intensity is quite low. I have done that with the projection brush. I pushed out some intersecting areas with the clay brush (you can use the move brush, too) Then I stepped up on a midres level and began to project some of the character mesh details onto my cloth mesh. Because I was going to do all the fine wrinkles and folds on the highest subdiv level, I subdivided the piece already at the beginning. Just try to keep the polygons as quadrangular as possible for a smooth subdivision in your sculpting package.Īfter I was done with the mesh, I have exported every piece as an OBJ and attached it as subtools to my main character mesh in ZBrush. As you can see on the screenshot below, it’s nothing more than simple polymodeling. I have planned to split it in 3 pieces, so I can work with them separately later in Zbrush. With the imported midres mesh as a basis, it takes only a few minutes to model the first part of the robe.
The polydraw subtool is great for this kind of work or for retopologizing a whole character. I’m using the Polyboost tools for all kind of polygon modeling in max. That is definitely much harder then recreating the same look with a combination of 3ds max and Zbrush with a complete body as a basis.įor the cloth basemesh I have exported a midres version of the character mesh out of Zbrush and brought it into 3ds max. It’s crazy how some of the great masters where able to create the impression of an underlying body, although you are looking at adamant stone. I aimed to make some really thin and slightly translucent fabric. The understanding how folded parts of the fabric expand and overlay in space of course is different. The brush-moves you are making in the 3d space of Zbrush or Mudbox are quite similar to the one you are drawing on paper.
#Zbrush sculpture full
You are not going to make real fabric you are only going to make the viewer believe that it is what he thinks it is…Īfter I had collected a folder full of images I made a few quick sketches for a better understanding of folds and wrinkles. Basically that’s true for every object you sculpt. The artist has left everything out that’s not relevant and reduced it down to the important features that are necessary to make the viewer believe that he is looking at drapery. Drawings and sculptures show an already “compressed state” of an object. It helps also to search for other artists work to learn how they handle the subject. I used and google for my research and searched everything related to fabric and cloth. I think the first and most important step is that you start to familiarize yourself with the object you are trying to model and its behavior.
In this short breakdown I will show you how I did the clothes on the “For the King” project.