Download - Mikejensens Zbrush Techniques

Chapter 24 | Quick Sketch

Chapter 3Page 34 | Hard Surface Sculpting

Chapter 1Page 04 | ZSketch

You can see the base images and free brushes in the resources folder that

accompanies this ebook.

You can find the movie file and chapter 3’s logo model for zbrush inside the resources folder

Chapter 1ZSketch

www.3dtotal.com Chapter 1

Mike Jensen’s Zbrush Techniques Chapter 1: Zsketch

Chapter 1 - ZSketchSoftware Used: ZBrush 3.5

IntroductionStarting off, let’s get used to the new brush

selection method. This method is far faster

to select brushes you want without having to

move your cursor away from the mesh. Press

the ‘B’ key and your brush palette will come up.

(Fig.01)

At this point you could simply click on the brush

you want, but it’s much faster to simply use your

keyboard. To get the brush you want, type the

first letter of its name. In this case I’m using the

Polish brush, so I pressed P. (Fig.02)

Now you’ll notice an orange character in the top

left of each brush. Press that character to select

the brush you want. So for the polish brush I’d

press ‘bpo’. If I wanted the hard polish brush

I’d press ‘bh’ (since the hPolish brush is the

only brush that starts with h, it will automatically

select that brush without any further input.). It

may be hard to get used to, but eventually it will

be the fastest way to select any of the brushes

since they all have a shortcut.

Basics Of ZSketchHere we’ll start with an example ZSphere

armature. (Fig.03)

To activate ZSketch mode either open the

ZSketch tab in the Tool Palette and hit “edit

sketch”, or hit shift+a. (Fig.04)

Fig 01

Fig 02

Fig 03

Fig 04

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Chapter 1: Zsketch Mike Jensen’s Zbrush Techniques

By default the “Sketch 1” brush is selected.

Here we draw a line of ZSketch spheres atop

the armature. This has not been smoothed yet.

(Fig.05)

Hold shift and use the brush to stroke over the

ZSpheres. They will smooth out your ZSketch

stroke between the two insertion points of each

end of the stroke. (Fig.06)

It’s important how the stroke is applied. Below is

an example of two ways to add a stroke. If the

stroke is applied fast, it will have less ZSketch

spheres and will thus be less dense and easier

to smooth. If your stroke is applied slowly, it will

add many more ZSketch spheres, usually giving

you a better looking result. The top stroke was

fast, and the bottom was slow. (Fig.07)

Notice that as you stroke along a base ZSphere,

your stroke will have an affinity for its surface.

However if you continue the stroke away from

the surface, eventually it will break off and float

freeform. When not attached to a ZSphere, the

stroke will be applied to camera normal. (Fig.08)

Fig 05

Fig 06

Fig 07

Fig 08




There are three basic application brushes

that are important to be familiar with. They

are Sketch 1, Sketch 2, and Sketch 3. The

difference between these is their embed values.

Sketch 1 is the most embedded, while Sketch

3 is the least embedded. Below you can see

Sketch 1, 2, and 3, from left to right. (Fig.09)

The Armature brush has less affinity for other

ZSpheres and ZSketch strokes. It can be used

to create extensions and digressions from the

original sketch. (Fig.10)

Now let’s take a look at the smooth brushes.

There are a few factors that change with the

different smooth brushes. The embed value

dictates whether or not (and how much) the

stroke will sink into the sphere it is attached to.

The resize function will dictate whether or not

(and how much) the ends of a stroke will resize

to the sphere with which it is attached. Here is

the original stroke we have. (Fig.11)

The Smooth 1 brush has both the embed and

resize functions active. You can see when

you smooth it out at the ends the spheres get

bigger and fall into the ZSpheres on which it

is attached. Looking at the unified skin it is a

bit easier to see what is going on. (Fig.12) &

(Fig.13)

Fig 09

Fig 10

Fig 11

Fig 12




The Smooth 2 brush has the embed function

enabled, but not the resize function. Again it’s

good to take a look at the unified skin to see

what’s happening. (Fig.13) & (Fig.14)

The Smooth 3 brush simply has both the embed

and resize functions turned off. It’s the most

simple of the smooth brushes. (Fig.15)

The Smooth 4 brush has a resize function

that is good for creating muscles. At the ends

of a stroke it resizes them to be significantly

smaller than the sphere it is attached to. Below

is a before using the brush and after using the

brush. (Fig.16) & (Fig.17)

Fig 13

Fig 14

Fig 15

Fig 16




I’m going to go over the other brushes that don’t

so much smooth and draw, but modify what’s

already there. Below is the messy mesh I’m I

started with. The explanation of these brushes

will be fairly quick, but it’s much faster to jump

in and try them. You’ll get a better sense of

what you can use them for by testing them out.

(Fig.18)

The Float brush makes the ZSketch spheres

float off the mesh relative to surface normal.

(Fig.19)

The Bulge brush inflates the ZSketch spheres.

Alt will deflate them. This works very similar to

the inflate brush. This is sometimes useful for

muscles. (Fig.20)

Fig 17

Fig 18

Fig 19

Fig 20




The Bulge&Flush brush is very similar to the

Bulge brush, with the added effect of

flattening the surface. (Fig.21)

The Flush brush flattens the surface of the

ZSpheres aligning them to the camera. It also

resizes the spheres. (Fig.22)

FlushDynamic flattens the spheres, but instead

aligns them to surface instead of camera.

(Fig.23)

FlushResize is the Flush brush with the added

effect of resizing the spheres to equal sizes.

(Fig.24)

Fig 21

Fig 22

Fig 23

Fig 24




The Fuse brush merges spheres into the closest

stroke of spheres. It’s a bit hard to see in the

image, but will be apparent when used. (Fig.25)

PushPull works to elevate spheres off their

current spheres. When the alt key is pressed the

spheres burrow into the spheres. (Fig.26)

One final function that is somewhat a smooth

brush is what I’ll call the Straighten Brush. It

works by pressing shift and clicking on a sphere.

Then stroke along the existing spheres towards

one of the termination spheres. All of the

spheres will be aligned into a straight line.

If the initial origin of the stroke is in the middle of

an existing sketch stroke, that point will act as a

vertex, allowing two straight lines to be created,

see below. (Fig.27) & (Fig.28)

Fig 25

Fig 26

Fig 27

Fig 28




The bind function in the ZSketch pulldown is

important for those wishing to change the pose

of the original ZSphere. Below I’ve added a

basic ZSketch atop an armature. (Fig.29)

I turned off the ZSketch with shift+a, and rotated

the arms upwards. (Fig.30)

But when the ZSketch is turned back on, you’ll

notice it was not affected by the rotation of the

arm. This is because binding is turned off by

default. To turn it on, go into the ZSketch tab

in the tool palette, and click the “Bind” button.

(Fig.31) & (Fig.32)

Fig 29

Fig 30

Fig 31

Fig 32




You’ll notice that a transparent “ghost” of the

ZSketch now appears on the armature. (Fig.33)

Now when the arms are rotated, the ZSketch

spheres follow the armature. (Fig.34)

Then ZSketch is again turned on to continue

adding ZSketch strokes. Binding also works with

the Move and the Scale functions. (Fig.35)

While Draw is usually operative in ZSketch, it’s

worth noting that move and scale also work with

ZSketch. Rotate does not work so well. Take

care to note that both scale and move functions

operate on the base ZSpheres as well as the

ZSketch. (Fig.36) & (Fig.37)

Fig 33

Fig 34

Fig 35

Fig 36




Now we can move on to the ZSpheres and

ZSketch. To create a character it’s best to start

with the hip bone. This way you can use the

ZSphere armature for posing. (Fig.38)

I keep going until I have a simple looking body. I

put quite a bit of detail in the original ZSpheres,

and the rest will be handled with ZSketch.

(Fig.39)

After this I continue to adjust the proportions

until it’s something desirable.

Note that since we’re going to be using ZSketch,

I leave the ZSpheres a bit thinner, so the final

product I get is the thickness I want. (Fig.40)

Fig 37

Fig 38

Fig 39

Fig 40




I do my hands a bit differently than other people.

Since ZSketch will be making the mesh and

not the ZSpheres, it’s ok to have overlapping

ZSpheres. The palm I create sides more with

the skeleton of the hand. The wrist is a single

ZSphere, but the palm is made up of the bones

of the fingers. This allows the ZSpheres of the

palm to be flat. If a single ZSphere was used

here it would be a thick hand. (Fig.41)

The feet are done somewhat of the same way.

I mass in the ZSpheres instead of ZSketch

here to have more control over exactly where

everything goes. (Fig.42)

Now it’s time to start fleshing the model. Press

“shift+a” to enter sketch mode. I usually start

by adding the biceps. This is because they

insert under pectorals and shoulder muscles.

I generally don’t add too much to the biceps

since they look odd large. For this I’m using

the Sketch 1 brush and the Smooth 1 brush.

The Smooth 4 brush would work as well for

better muscles. Since this is going to be more

armor than body however, I went for Smooth 1.

(Fig.43)

I continued to flesh out the model with

ZSpheres. Sometimes it’s simply helpful to

add spheres directly over the armature just to

throw something on the model. Moving onto

the triceps I just throw something on there and

smooth it out. (Fig.44),(Fig.45) & (Fig.46)

Fig 41

Fig 42

Fig 43

Fig 44




At times it’s good to lay in areas that might be

separate parts. This is visible on the back below

where I laid in a bit of an outline for the scapula.

The chest was also laid in, as well as the

clavicles. I’m still using only the Sketch 1 and

the Smooth 1 brushes. (Fig.47)

I keep adding strokes trying to find a good

shape for the chest. The direction of the strokes

also helps me to get an idea of shapes on the

final mesh. (Fig.48), (Fig.49) & (Fig.50)

Fig 45

Fig 46

Fig 47

Fig 48




Now I started adding the shoulder muscles to

the mesh. (Fig.51)

I didn’t like the upper back that I had at this

point. It looks too similar to something else

I’ve created, so I decided to erase it and focus

solely on the shape and silhouette. Below the

shapes appear to work together a bit better and

the silhouette shows a character that is on the

muscular side. (Fig.52)

Fig 49

Fig 50

Fig 51

Fig 52




Again I keep modifying the chest and the back

until I have something I like better. I haven’t

used any brushes thus far except for the

Smooth 1 and the Sketch 1 brushes. (Fig.53)

I started adding layering to the chest. The

method is quite simple. I simply draw straight

lines until they elevate and to a new layer and

then fill them in. (Fig.54)

Now I flatten the chest out by using the

FlushDynamic brush. This gives a good base for

hard surface sculpting. The brush was simply

used on each layer of the chests. (Fig.55)

I started fleshing out the sides of the torso, since

I wanted him to be a bit wider than thick. I also

fleshed out the bicep and shoulders a bit more.

(Fig.56)

Fig 53

Fig 54

Fig 55

Fig 56




Again I’m segregating areas out of the mesh

by adding ZSpheres. In the torso I want each

of those areas to be a separate section of the

torso. (Fig.57)

I started adding sharp areas to the legs. Since

the torso is wider than it is deep, I thought it

would look good to have the legs deeper than

they are wide. (Fig.58) & (Fig.59)

I continued by filling in the torso and finishing up

the upper leg. Notice the flow of the strokes on

the upper leg. It’s not necessary to do this, but it

does give me an idea of what I may want to do

while sculpting the final mesh. (Fig.60)

Fig 57

Fig 58

Fig 59

Fig 60




Again I modified the back. It’s important to not

be afraid to completely destroy what you’ve

already created and try something new. You

may stumble upon something you’ll like. (Fig.61)

I added another shell on the buttocks that is

similar to the rest of the torso. I’m keeping

everything pretty basic because it’s better to

explore shapes with the final mesh. (Fig.62)

Now I moved on to the lower legs. I didn’t want

to fight the forms to get a diamond shaped lower

leg,

so I opted to add more ZSpheres. I backed out

of ZSketch by pressing shift+a, and started

adding ZSpheres around the lower leg. After I

added a sort of wire frame for the lower leg, I

entered back

into sketch. (Fig.63) & (Fig.64)

Fig 61

Fig 62

Fig 63

Fig 64




After I added more armature spheres,

connected them to the base legs to

have a base to fill them in. (Fig.65)

I continued filling in the legs until they matched

the upper legs. (Fig.66)

I did the same with the forearms. Once filled

in the were very angular like their counterpart

limbs (Fig.67), (Fig.68), (Fig.69) & (Fig.70)

Fig 65

Fig 66

Fig 67

Fig 68




Here’s the final result. It’s not perfect, but

after creating a unified skin we can modify

proportions and other things on the resulting

mesh. (Fig.71)

I then went to the unified skin tab and upped

the resolution to the max. Then press “Make

Unified Skin” at the bottom of the tab. You’ll

then get a fully sculptable and workable mesh.

(Fig.72)

Fig 69

Fig 70

Fig 71

Fig 72




And the result you get is something with a

decent resolution that you

can begin to sculpt. (Fig.73) & (Fig.74)

Mike JensenFor more from information contact

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Fig 73


Chapter 2Quick Sketch


Mike Jensen’s Zbrush Techniques Chapter 2: Quick Sketch

Chapter 2 - Quick SketchSoftware Used: ZBrush 3.5

Quick SketchQuick sketch is a great way for concepting in

zbrush. The main feature of it is the symmetry

of the painting, allowing you to quickly rough

in silhouette of forms and not worry about

perfection of each side. To enter quick sketch,

press the “Quick Sketch” button at the top left of

the zbrush window. (Fig.01)

This will initialize the quick sketch function.

Specifically, this will draw a high poly plane

on your canvas, turn on a flat material, and

pick one of the several pen brushes. Each of

these brushes provides a different result when

painting. Essentially what you’re doing is poly

painting on a plane. When roughing in shapes I

normally stick to the Pen A or Pen B brush (the

first two strokes in the images below). (Fig.02)

When first started, quick sketch begins in a

symmetrical mode along the x axis. This can be

turned off by pressing the ‘X’ key. Remember

that this is still zbrush, and all the zbrush

functions still apply. (Fig0.3)

The other axes can also be turned on in the

transform palette to create some interesting

patterns and results. (Fig.04)

Fig 01

Fig 02

Fig 03

Fig 04



Chapter 2: Quick Sketch Mike Jensen’s Zbrush Techniques

Radial symmetry can also be enabled. Radial

symmetry is activated in the Transform palette

by pressing the (R) button and enabling

symmetry on the Z axis only. (Fig.05) & (Fig.06)

Sketches can be roughed in and then faded

back, enabling you to draw over them. This is

done by hitting the FillObject button in the Color

palette. The amount of fade is decided by the

Rgb Intensity of your brush. (Fig.07) ,(Fig.08) &

(Fig.09)

Fig 05

Fig 06

Fig 07

Fig 08




Since this is still zbrush, all of the sculpting

brushes are still usable. For an extreme

example you can see the pinch brush used on

the quick sketch plane. (Fig.10)

The color palette can also be used to pick colors

and paint on the plane. Rgb intensity still affects

the opacity of the brush stroke. (Fig.11)

Roughing In TheCharacterI know that I want to do a bulkier mech. For this

I’m going to begin by using the Pen B brush

to form some basic strokes to rough in the

proportions. (Fig12) & (Fig13)

Fig 09

Fig 10

Fig 11

Fig 12




At this point I don’t like the positioning and size

of the arms. To erase, I simple press ‘C’ while

holding my cursor over an area of the plane I

haven’t painted on yet. This grabs the color of

the plane and makes it the current color to be

painted with. After doing this I simply paint over

the arms. (Fig14)

I continue painting the character, using heavier

brush strokes as I go along to define areas of

armor I want to be separate. (Fig15) ,(Fig16) &

(Fig17)

Fig 13

Fig 14

Fig 15

Fig 16




Finally I start adding in some color. I start with a

yellow and block in areas. Then to add a bit of

variation I pick a close orange and paint some

variation. I also add white to the silhouette to

allow the

character to pop from the background. I also use

the pen wet solid to fill in some areas,

such as the neck. (Fig18) ,(Fig19),(Fig20)

Finally I arrive at something that will work. This

step doesn’t have to be too indepth, and is

mainly used for quick concepting of shapes and

silhouette.

Fig 17

Fig 18

Fig 19

Fig 20




A Few Other FeaturesTo Take Note OfThere are a few other new features in 3.5r3 to

take not of that aren’t applicable to the mech.

One of these is the new tilt function in the brush

palette. When turned on, the brush stroke will

cause the mesh to rise at a tilt instead of it’s

normal. (Fig21)

For an example, here is a mech brush I use for

creating mechanical details. Tilt is set to 0 with

this stroke. (Fig22)

With tilt set to 60, you can see that the mesh

rises at an angle instead of by surface normal.

(Fig23)

With the tilt set to -60, you can see that the

angle is reversed, and the mesh rises in the

opposite direction. This can be very useful

to create organic scales for snakes or other

reptiles. (Fig24)

Fig 21

Fig 22

Fig 23

Fig 24




The next important new feature is the ReMesh

All function in the SubTool subpalette in the

tool palette. This acts similar to a Boolean

function you’d see in many 3d packages. There

are a few options that can be changed. First

off, notice in the ReMesh All button there is an

‘x’ highlighted. This means that the resulting

mesh will be symmetrical across the x axis. To

turn it off, simply click on the x. Symmetry also

works along the y and z axes. The ‘Res’ slider

determines the resolution of the mesh. The

higher the slider, the higher the resolution of the

resulting mesh. The Polish slider determines

how smooth the surface will be. Next to the

polish brush you’ll notice a little circle. When the

outer circumference of the circle is highlighted,

then the mesh will retain its edges more

precisely. When the inner part of the circle is

highlighted, the mesh will have a smoother

result, but its edges will be less precise. Below

is an example of this. (Fig25) & (Fig26)

There are three different ways to Boolean an

object: union, subtraction, and intersection.

These can be picked in each subtool. Next to

the image of the subtool there are three circular

icons. By default the first one is selected (union).

This will add the meshes together. The second

is subtraction, and is represented by a circle

with a smaller circle cut into the larger circle.

The third (intersection) is represented by two

circles, with it filled in only where the two circles

overlap. (Fig27)

Below there are two subtools. Each of these

subtools is set to union. (Fig28)

Fig 25

Fig 26

Fig 27

Fig 28




With symmetry turned off, and the polish set 64,

and the mesh resolution set to 256, the result

below is attained. (Fig29)

With the sphere set to union and the cylinder set

to subtraction, we get a sphere with a piece cut

out of it in the shape of a cylinder. (Fig30)

With the sphere set to union and the cylinder set

to intersection, we get a mesh only where the

two subtools were overlapping. (Fig31)

The final new feature worth noting is the new

Mirror and Weld feature. This will mirror the

subtool along any axis, and weld it together.

It can also work on multiple axes at the same

time. First, turn on the floor grid by going into the

draw palette and pressing the Floor button.

Check only the x axis so we can mirror along

the x axis. Next to the Floor button you’ll see an

‘Elv’ slider. This determines where the grid will

be with respect to your mesh. Set it to 0, so the

grid goes directly down the middle of the mesh.

(Fig32)

Fig 29

Fig 30

Fig 31

Fig 32




Then take the mesh you want, and place it

somewhere along the x axis. It’s important to

note that irror and weld only works from left to

right. (Fig33)

Finally, in the Geometry subpalette of the Tool

palette, click Mirror and Weld. Make sure the

x axis is active, and the y and z axes are not

active. (Fig34), (Fig35) & (Fig36)


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Fig 33

Fig 34

Fig 35

Fig 36


Chapter 3Hard Surface Sculpting


Mike Jensen’s Zbrush Techniques Chapter 3: Hard Surface Sculpting

Chapter 3 - Hard Surface SculptingSoftware Used: ZBrush 3.5

IntroductionFor hard surface sculpting there will be two

types of brushes to be concerned with: Polish

and Trim. Let’s start with the polish brushes.

The polish brushes area all variations of the

same brush. The three polish brushes to

be concerned with are the polish, mpolish

(medium), and hpolish (hard). These brushes

with zsub activated will build up a mesh rather

than subtract from it.The polish brush levels a

surface in the direction of the stroke. Notice the

edges it gives aren’t very hard. The harder you

press with the polish brush, the harder the edge

of the stroke you get. (Fig.01)

If you press softer, you’ll get a smoother more

even surface. (Fig.02)

The mpolish brush is similar, but with more

intensity. It also gives harder edges. (Fig.03)

The hpolish is still more intense. It also gives the

most crisp edges. (Fig.04)

The trim brushes are a bit more varied.

The important ones to take not of are the

TrimDynamic, TrimNormal, TrimHole, and

TrimFront

Fig 01

Fig 02

Fig 03

Fig 04



Chapter 3: Hard Surface Sculpting Mike Jensen’s Zbrush Techniques

TrimDynamic cuts into the surface of the mesh,

but keeps the underlying structure. It acts similar

to the polish brushes. (Fig.05)

Trim normal trims a plane into the mesh with

its surface facing the normal of the origin of the

stroke. The end of the stroke dictates how deep

the trim brush will cut. (Fig.06)

TrimHole is good for cutting deep into a mesh,

or for building it up high. The brush acts

according to the camera normal. (Fig.07)

Finally trimFront creates a plane that faces the

camera. How deep the plane is cut depends on

where the origin of the stroke is placed. (Fig.08)

Fig 05

Fig 06

Fig 07

Fig 08




Hard Surface TechniqueMy technique for developing hard surface

models is very simple. I start by building up the

basic shape with mainly the claytubes brush.

After I have the shape I want I use the hpolish

and trim brushes to clean up the mesh. If the

mesh needs further cleaning, I’ll break it up into

parts to finish it off. Finally I’ll add details using

stamps I’ve created.

For this quick demo I’ll use a sphere. (Fig.09)

First I use the clay tubes brush to rough in the

shape I want. (Fig.10)

I also use the move, standard, and dam_

standard brushes to rough in the overall shape I

want. (Fig.11)

Once I’m happy with the shape, I use the

hPolish brush to smooth everything out and

create my hard edges. (Fig.12)

Fig 09

Fig 10

Fig 11

Fig 12




At this point I could break up the mesh into

polygroups. I do this by painting different

colors on the mesh where I want the separate

polygroups. Then under the Polygroups

subpalette, I press “From PolyPaint”. (Fig.13) &

(Fig.14)

This gives the result below. (Fig.15)

To clean up the borders of the mesh, we

can use the Group Loops function under the

Geometry Subpalette. (Fig.16) & (Fig.17)

Fig 13

Fig 14

Fig 15

Fig 16




In the brush palette, under the Auto Masking

subpalette, there is a feature called mask by

Polygroups. There you’ll see a slider. If turned

to 100, the polygroup you start a stroke on will

be the only part of the mesh affected. This is

because once you choose a polygroup with

your stroke; it automatically masks all other

polygroups. The slider affects the intensity. This

means if it is set to 50, other polygroups will still

be affected by your brush strokes, but at 50%

the true intensity of the stroke. (Fig.18)

This is one way to break up the mesh, but

I prefer to actually break the mesh into the

separate pieces I want to use. To show which

areas I want to break up, First I use the dam_

standard brush to cut into the mesh and define

my edges. (Fig.19)

Then I select the first area of the mesh I want

to make into its own mesh. Hide the areas

of the mesh you won’t use, and hit the Make

PolyMesh3d button at the top of the tool palette.

Then add the new mesh as a subtool. (Fig.20)

Fig 17

Fig 18

Fig 19

Fig 20




Now I’m able to go in with the hpolish brush and

clean up the edges. (Fig.21)

I’ll do the same for the next mesh. I want. I’ll

clone it off as a new mesh, and then add the

clone as a subtool. (Fig.22)

Then I’ll push in the areas that conflict with my

previously made mesh using the clay tubes

brush. (Fig.23)

If it’s hard to work on the underlying mesh,

you can press ctrl+t to enable transparency.

This way your brush is not influenced by other

subtools. (Fig.24)

Fig 21

Fig 22

Fig 23

Fig 24




I then use the hPolish brush to refine the surface

of the underlying piece and

create it’s hard edges. (Fig.25)

To hide the imperfections of the underlying

mesh, we can simply add a sphere for the sake

of the tutorial. If this were a real mesh, however,

I would make sure that mesh edges did not

visibly exist. I do this by hiding them inside other

subtools. (Fig.26)

Then I use some previously made stamp

brushes to create mechanical detail. (Fig.27)

After that, I use the dam_standard brush to

create the illusion of separate plates. For this

it’s usually good to have lazymouse enabled.

(Fig.28)

Fig 25

Fig 26

Fig 27

Fig 28




Then I finish it off with some other stamp

brushes I created. The result is a mechanically

detailed 3d total logo. (Fig.29)

Applying the Technique to an Armor Piece

Now that the basic technique has been run

through, I’m going to walk you how to apply this

to a piece of armor. I chose to do a torso piece.

For this part of the tutorial I’ll use the mesh

made from the previous zsketch tutorial. The

first thing that’s important to note is the new

smooth algorithm. Since unified skin meshes

produce very bad edge flow, the smoothing

brush will create pinching in certain areas.

(Fig.30)

To smooth the mesh correctly, hold shift, start

smoothing, and then release shift while your pen

is still smoothing. Once you release shift, the

smooth algorithm will automatically change to

the more accurate one. (Fig.31)

For this example I’ve broken off the chest

piece as a separate mesh, so I can focus on

it. I’ve also broken off the shoulders merely for

reference to their location. (Fig.32)

Fig 29

Fig 30

Fig 31

Fig 32




Here I start using the hpolish brush to try to find

forms. Since I already did a lot of work during

the zsketch stage I’ve already got a good start.

(Fig.33)

I continue using the hpolish brush in both zsub

and zadd to create straight edges. (Fig.34)

Using hPolish I go around the entire mesh and

continue to refine areas into the shapes I want.

The first thing I want to do is smooth out all the

areas. At this point I’m still trying to figure out the

exact shapes I want. (Fig.35)

To define edges I use the dam_standard brush

to cut deep into the mesh. (Fig.36)

Fig 33

Fig 34

Fig 35

Fig 36




I continue to refine all the places, not being

afraid to mess up a smooth surface I’ve created

with the claytubes brush. (Fig.37)

At this point I don’t like the back much. So I

decide to go in and heavily refine it. I start by

carving into it with the claytubes brush. (Fig.38)

I break up the back into multiple parts using the

dam_standard brush,

claytubes, and the hPolish brush. (Fig.39)

Using the hPolish brush I clean up the top of the

back. (Fig.40)

Fig 37

Fig 38

Fig 39

Fig 40




I want something similar to a scapula on the

back. So I cut in the general shape

of the shoulder blade. (Fig.41)

I continue by fleshing out the scapula a bit more

to distinguish it from the surrounding parts.

(Fig.42)

Using the dam_standard brush I search for other

shapes in the back. (Fig.43)

I finally arrive at something I like on the back.

(Fig.44)

Fig 41

Fig 42

Fig 43

Fig 44




It’s now time to refine the front. I carve out a

shape I feel works with the front. (Fig.45)

I smooth it out and use the hPolish brush to

clean it up and set it in

with the rest of the mesh. (Fig4.6) & (Fig.47)

After a few refinements below is the final

concept sculpt. Now it’s time to break it up into

parts and clean the mesh up. (Fig.48)

Fig 45

Fig 46

Fig 47

Fig 48




I start with the chest for individual pieces.

Using the hPolish brush I clean it up and make

it smooth. Every once and a while I change

materials to see how different lighting affects the

mesh. (Fig.49), (Fig.50), (Fig.51), & (Fig.52)

Fig 49

Fig 50

Fig 51

Fig 52




I next move onto the lower front torso. After

breaking it off I hide areas that aren’t supposed

to show by pushing them below with the clay

tubes brush. (Fig.53) & (Fig.54)

I go around the entire mesh and clean

everything up and making sure each piece

fits well with its neighbors. (Fig.55), (Fig.56),

(Fig.57), (Fig.58) & (Fig.59)

Fig 53

Fig 54

Fig 55

Fig 56




Here is the difference between the single mesh

and the split meshes. (Fig.60), (Fig.61) &

(Fig.62)

Fig 57

Fig 58

Fig 59

Fig 60




Finally I use the same technique described in

the previous example to create details. I use the

dam_standard brush to cut holes in the mesh

and separate out parts, and some previously

created mech stamps to add more details.

Below is the result. (Fig.63)


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Fig 61

Fig 62

Fig 63


http://www.3dtotal.com/bugatti_veyron

In this series we will be working our way through the basic process of creating a creature bust, then taking it to completion by the last chapter. We will be starting with a basic Zsphere base mesh that we will create ourselves and we’ll use this as our starting point for sculpturing and finally adding texture to. The tutorial series is split into 7 chapters so that we can take it at a beginner’s pace and cover as much ground as possible for people totally new to Zbrush. (Plus you’ll end up with a finished digital sculpt that will give you the confidence to approach you own projects in a similar manner.)

Original Author: 3DTotal.com Ltd | Platform: ZBrush | Format: DOWNLOAD ONLY PDF | Pages: 52

Visit 3DTotal.com to see our full range of training products3DTOTAL.COM

http://www.3dtotal.com/beginners_zbrush/

http://www.3dtotal.com/environment_lighting

Introduction:The original character of the Swordmaster was created by Seong-wha Jeong and we had 3DTotal’s in-house 3d artist Richard Tilbury, re-create the character in 3dsmax as well as create the textures in Photoshop, in our new precise, step-by-step tutorial for highly polished, low polygon game character with detailed texturing for real-time render-ing. We have also converted the tutorials into Cinema 4D, Maya, Lightwave and Softimage platforms. Even if you are not a user of one of them, the principles should be easily followed in nearly all other 3D applications.

The Swordmaster tutorials is spread over 8 Chapters which outline, in detail, the process for creating the Swordmaster below are the details.

for more products in our range visit http://www.3dtotal.com/shop

Chapter 1: Modelling the HeadChapter 2: Modelling the Torso Chapter 3: Modelling the Arms & Legs Chapter 4: Modelling the Clothing & Hair Chapter 5: Modelling the Armour Chapter 6: Mapping & Unwrapping Chapter 7: Texturing the Skin & Body Chapter 8: Texturing the Armour & Clothing

image by Seong-wha Jeong

Downloadable Tutorial EBook

http://www.3dtotal.com/swordmaster/

The series is split into 6 chapters and will endeavour to give you an insight into how a fully realised 3D scene may be arrived at from beginning to end. The tutorials will attempt to address the key issues and techniques appropriate in achieving this, from concept sketches through to building the 3D scene, mapping and unwrapping, texturing and eventually to lighting and rendering, culminating in a final render. The emphasis over the course of the series will be on the texturing and principally the aging and wear of materials.

Original Author: 3DTotal.com Ltd | Platform: 3ds max, Cinema 4d, LightWave, Maya and Softimage XSIFormat: DOWNLOAD ONLY PDF | Pages: 38+


http://www.3dtotal.com/aquarium/

Introduction: Michel Roger’s famous ‘Joan of Arc’ tutorial re-written for Maya by Taylor Kingston, Cinema 4D by Giuseppe

Guglielmucci & Nikki Bartucci, Lightwave by Vojislav Milanovich and

Softimage by Luciano Iurino and 3DCreative Magazine.com.

If there has been one single tutorial that has educated and inspired more

budding 3d artists than anything else, this complete step by step project by

Michel’s must be it. The community is in debt to him.


These 120 plus page, Downloadable PDF’s are designed for ease of use to help beginners and intermediate level of artist alike in the creation of a female character. The tutorial takes you through the process of modelling, texturing and mapping to finally adding bones.Chapter 1: Modeling of the Body - BodyChapter 2: Modeling of the Head - Head, Ear & AssemblyChapter 3: Modeling of the Accessories - The Sword & Armour Legs Chapter 4: Modeling of the Accessories - Armour Bust, Hair & Glove Chapter 5: Modeling of the Accessories - Accessories & UVW MappingChapter 6: UVW Mapping - Sword, Clothing, Armour & Body Chapter 7: Texturing & Hair - Eyes, Skin & Hair Chapter 8: Bones & Skinning - Bases, Hierarchy & Skinning

Imag

e by

Mic

hel R

oger

Zbrush Character Creation is a comprehensive look at the techniques and tools used to sculpt a variety of physical characteristics specific to several character types. The lessons on offer show how to transform a general base mesh into a definitive character class and explains the tools used to not only create the details and unique facial features, but also how to manipulate the overall proportions and head shapes. There are nine chapters in all, five of which cover the human condition and four of which cover creatures with human characteristics including zombie, werewolf and Frankenstein’s monster.



http://www.3dtotal.com/joan_of_arc/

http://www.3dtotal.com/zbrush_character/

Introduction: Michel Roger’s famous ‘Joan of Arc’ tutorial re-written for Maya by Taylor Kingston, Cinema 4D by Giuseppe

Guglielmucci & Nikki Bartucci, Lightwave by Vojislav Milanovich and

Softimage by Luciano Iurino and 3DCreative Magazine.com.

If there has been one single tutorial that has educated and inspired more

budding 3d artists than anything else, this complete step by step project by

Michel’s must be it. The community is in debt to him.


These 120 plus page, Downloadable PDF’s are designed for ease of use to help beginners and intermediate level of artist alike in the creation of a female character. The tutorial takes you through the process of modelling, texturing and mapping to finally adding bones.Chapter 1: Modeling of the Body - BodyChapter 2: Modeling of the Head - Head, Ear & AssemblyChapter 3: Modeling of the Accessories - The Sword & Armour Legs Chapter 4: Modeling of the Accessories - Armour Bust, Hair & Glove Chapter 5: Modeling of the Accessories - Accessories & UVW MappingChapter 6: UVW Mapping - Sword, Clothing, Armour & Body Chapter 7: Texturing & Hair - Eyes, Skin & Hair Chapter 8: Bones & Skinning - Bases, Hierarchy & Skinning

Imag

e by

Mic

hel R

oger

http://www.3dtotal.com/joan_of_arc/

This e-book provides a detailed account of building, texturing and lighting the interior of a Gothic Church based upon a concept painting. The ebook is available in five different platforms. Chapter two however is dedicated to creating a gargoyle in Zbrush – the focal point in our scene. Here the author will start by creating a rough body form using ZSpheres and move through the numerous sculpting phases and modeling the details for each part of the character, highlighting the various brushes and tools used throughout.

Original Author: 3DTotal.com Ltd | Platforms: 3ds max, Cinema 4d, LightWave, Maya and Modo.Format: DOWNLOAD ONLY PDF | Pages: 47+


http://www.3dtotal.com/gothic_church/

The tutorial eBook will begin by creating and applying materials for the various parts of the car, such as glass, chrome and tyres, as well as texturing some simple geometry that will make up a scene. It will then move onto lighting where the focus will be on setting up a lighting rig and the various parameters connected to this. Finally the series will culminate with a section on rendering, where the aim will be to finish with a polished image.

Original Author: 3DTotal.com Ltd | Platform: 3ds max, Cinema 4d, LightWave, Maya and Softimage XSIFormat: DOWNLOAD ONLY PDF | Pages: 44+


http://www.3dtotal.com/tuc_tuc/

This series of ZBrush tutorials orientates around speed and efficiency and how to achieve detailed sculpts within a few hours. Each of the ten chapters focuses on a different character topic ranging from mythical creatures such as the Minotaur and Cyclops to Pirates and monsters. With over seven hours of video footage and covering ninety seven pages this e-book provides an insight into the working methods of eleven professional artists. Each individual showcases their particular approach to the subject and treats us to an exhibition of both their artistic and technical skills that form the backbone of their creative process.

Original Author: 3DTotal.com Ltd | Platforms: ZBrush | Format: DOWNLOAD ONLY PDF | Pages: 97


http://www.3dtotal.com/speed_sculpting/

This six chapter eBook aims to show the value of post-production and more specifically the ways in which Photoshop can be used to aid the 3D pipeline. Over the course of six chapters we shall focus on the various tools and techniques on offer in Photoshop that are frequently used to improve 3D renders. Compositing passes, adding particle effects, improving lighting and making general colour adjustments are a few of the topics covered, as well as ways to create backgrounds that both complement and enhance characters.The methods presented within this series can provide an efficient alternative to lengthy render test.

Original Author: 3DTotal.com Ltd | Platform: Photoshop | Format: DOWNLOAD ONLY PDF | Pages: 049


http://www.3dtotal.com/photoshop3d/

Manimal is a Zbrush tutorial series divided into six parts, covering nearly 70 pages and addressing the process of transforming a generic base mesh into an original creature design. The notion behind the series assumes the task of genetically splicing a human being with a different animal class and sculpting the resultant character. Each of the tutorials adopts a different animal class as its theme and walks through the stages of developing a concept and sculpting the overall proportions through to the individual features and particular anatomical mutations.



http://www.3dtotal.com/manimal/