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Getting Started in ZBrush: An Introduction to Digital Sculpting and Illustration

Home Favoriten. Geschenk per Mail versenden. Wann soll das Geschenk ankommen? Abbrechen In den Warenkorb. Introducing ZBrush von Eric Keller. ZBrush is merely 10 years old, and in just over half that time it has gone from a unique painting program to the industry-standard digital sculpting software. It has changed how we create character models from initial design to final paint and detailing.

Not only has Pixologic defined high-resolution brush-based sculpting for the film and game industries, ZBrush has opened up entirely new applications for digital sculpting tools. In the last five years, manufacturing has seen ZBrush enter the scene to be used as a highly effective medium for creating sculptures. Creators of fine art have begun to integrate ZBrush into their creative process.

In just the past year, I have used ZBrush to create everything from prosthetic bodies to fine art public sculpture and collectable action figures. Anyone who seeks to become proficient as a sculptor in ZBrush will find they have a staggering number of opportunities to find an application for their skill set! ZBrush has even gained a foothold in the world of concept design. This allows a new level of freedom because they can interactively see the character in 3D space and make changes on the fly. This level of freedom is always appealing to a director who wants to know they have explored every possibility in the design process.

It also allows talented sculptors to take part in the initial conceptual phases of the project rather than replicating a completed design from a set of drawings. This is truly an exciting time to be learning ZBrush, and I can think of no better guide than Eric to lead you into the world of digital sculpting. He is also an accomplished artist with pixels and pencils. You are all artists, and the vision, experience, and education you each bring to the program is what makes the work shine. ZBrush is a tool to liberate your creative power from the limits of technology.

Enjoy the journey! ZBrush was introduced to the world as an experimental art application with a unique technology that allowed users to create illustrations in two and a half dimensions. I remember seeing the Pixologic booth at a Macworld in New York in the summer of The booth was small but the presentation was remarkable.

I grabbed a demo copy, installed it on my Mac laptop, and played with it on the train ride home from New York. At the time I was primarily interested in 3D modeling and animation, so after Macworld, my focus returned to LightWave and Maya and the demo copy of ZBrush collected dust on my shelf. The author mentioned that the ghostly character of the King of the Dead, who confronts Aragorn, was created in ZBrush.

Within seconds of reading that I was downloading the newer version of ZBrush and working my way through the tutorials. I could not believe that the little 2. From that point on I became a ZBrush user. Because much of my work at the time involved creating organic surfaces for animations in the fields of cell biology and medicine, ZBrush seemed to be the perfect solution. ZBrush was the first application to actually deliver this technology.

I was not alone in my realization of the potential of ZBrush. Over the years many other CG artists have discovered that ZBrush is the key to realizing their fantastic visions. Each update to ZBrush has included not only tools but technological innovations that are designed to make computer graphics less technical and more accessible to artists.

In version 2 we had ZSpheres, which allowed us to create virtual armatures that could be converted into polygons and sculpted into organic shapes. Version 3 introduced SubTools, which made the task of creating sculptures with multiple, independent parts easy, and the sculpting brushes, which can be used to intuitively sculpt details into the surface.

Version 3. Shadowbox is a volumetric sculpting interface that generates a mesh at the center of a cube based on the profiles that you paint on the sides of the cube. Spotlight is an image editing and projection tool that can be used for advanced texturing effects. Numerous new brush types have been developed specifically for hard surface sculpting. A new rendering method has been added to give you the ability to render transparent surfaces, ambient occlusion shadowing, and subsurface scattering without the need to send your sculpts to another 3D application.

ZBrush version 4 has doubled the capabilities of the previous version, giving you a wide variety of approaches that you can apply to any sculpture that you can imagine. ZBrush 4 is a virtual sculpting studio. And this advanced and experimental technology is intended for artists. The tools are so new and so powerful that I had to completely rewrite this book and I was happy to do so.

The original version of this book, published in , was written for beginners, even artists who had never touched computer graphics software before. It was a pretty good overview of the basics of illustrating and sculpting in ZBrush. This edition has also been written with the absolute beginner in mind.

This book focuses primarily on the digital sculpting aspects of ZBrush with less emphasis on 2. This is because digital sculpting has become the most popular use of ZBrush. The types of artists using ZBrush have changed in the past year or so. I have noticed that the students who take my Introduction to Digital Sculpting class at the Gnomon School of Visual Effects in Hollywood are not just interested in using ZBrush to design characters for feature films, broadcast, and video games.

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Recently, jewelry designers, toy sculptors, visual effects and environment designers, matte painters, illustrators, and fine art artists have all been joining the ranks of the growing army of ZBrush artists. I have tried to write this book so that the widest possible audience can adopt ZBrush into whatever discipline they currently practice.

This book is about getting you up to speed as quickly as possible so that you feel comfortable using the software. A variety of tools and techniques are described and the demonstrated using simple subjects such as fantasy dragons and a cartoon car. If you have used older versions of the software, you may find that this book brings you up-to-date with the newest developments.

If you are a user of similar software, such as Autodesk Mudbox, this book will help you easily make the transition to ZBrush. However, you do need to be comfortable using a computer. You should be comfortable working in your operating system. You need to be familiar with opening and saving files and the like. It is helpful to understand something about other image editing and painting programs such as Adobe Photoshop and Corel Painter. This book assumes that you are using a digital tablet and stylus while working in ZBrush. Using ZBrush with a mouse is like sculpting clay while wearing mittens.

In addition, bonus movies are included to help illustrate some aspects of the examples in the text of the book. Concepts such as resolution, color depth, compression, and antialiasing are explained. Also, some of the history behind ZBrush as well as special ZBrush technology such as the pixol is introduced.

This chapter is very important for understanding how to get around in ZBrush.

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The subject for the first exercises is a simple fantasy dragon head. In this chapter, the exercises demonstrate how to use ShadowBox to create the body of a hot rod. The clip brushes are another new feature that can be used to create hard edges on a surface. Projection is a way to transfer detail from one surface to another. The ZSphere mannequins are used in this chapter in conjunction with remeshing and projection to create a body for the dragon. The new Spotlight image editing and projection interface is introduced as well. These all make your models look spectacular.

This chapter demonstrates how to install the free plug-ins and includes descriptions of the more commonly used plug-ins. The companion DVD is home to all the demo files, samples, and bonus resources mentioned in the book. See the Appendix for more details on the contents and how to access them. How to Contact the Author I enjoy hearing from the readers of my books. Feedback helps me to continually improve my skills as an author.

You can contact me through my website, www. Sybex strives to keep you supplied with the latest tools and information you need for your work. When you are learning to become an artist, you spend a great deal of time studying how the tools behave. It is the same with digital art.

This chapter reviews the fundamentals of digital art. Just as an oil painter needs to learn how the mixture of pigments and oils works with the canvas, a digital artist needs to learn how color depth, channels, file formats, and other elements factor into the quality of a digital masterpiece. Inside you find cabinets and drawers full of paints and brushes, a large canvas, a closet full of every type of sculpting medium imaginable, a lighting rig, a camera, a light box, a projector, a kiln, armatures for maquettes, and a seemingly infinite array of carving and cutting tools.

On top of this everything has been neatly arranged for optimal use while working. This is ZBrush, a self-contained studio where you can digitally create paintings and sculptures—and even combinations of the two. Furthermore, you are not limited to what you find in ZBrush. Digital 3D models and 2D textures can easily be imported from other applications and used as tools within ZBrush. ZBrush can function as a self-contained digital art workspace or as an integral part of an animation production pipeline. Fine wrinkles, fleshy folds, pores, bumps, scales, scars, and scratches can be easily sculpted into the model and then exported either as part of the geometry or as bump and displacement textures that can enhance the geometry of a model when the model is rendered in another package.

Colors can also be painted directly on the model in ZBrush in an intuitive fashion and then exported as texture maps for use in shaders applied to the same model in other 3D packages. These days artists are using ZBrush as a tool in the production of toys, game characters and environments, and scientific visualization; in jewelry design and concept design; and even to help in the creation of physical sculpture. Artists are using ZBrush to design models on computers and then translating them into physical versions via 3D printing technology.

As the 3D printing process becomes more common and less expensive, one can imagine how ZBrush can easily be integrated into a desktop fabrication pipeline in the near future. ZBrush can also be used for the creation of digital illustrations: The program has digital sculpting and painting tools as well as its own unique rendering technology. Within ZBrush, artists can create custom virtual materials, which can be procedurally designed or captured from digital images. These materials can be applied to an artistic composition and, when rendered, react to virtual lights and shadows.

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Many artists have taken advantage of the flexible workspace and powerful tools to create amazing ZBrush compositions. Computers display digital images using colored squares known as pixels. This section reviews the basics of working with pixels and related issues.

Anatomy of a Pixel A pixel is a colored square that appears on the screen at a specified position—pretty simple, at least to begin with. A raster graphic is an image made up of thousands of pixels. A pixel is imbued with a certain amount of color and position information that is stored in memory. A digital image file stores the positional information of these pixels in terms of x- and y-coordinates. The y-coordinate is the vertical position and the x-coordinate is the horizontal position. However, the software still needs to remember the position and size of each pixel relative to the digital image that is being viewed.

Creating Smooth Images with Anti-Aliasing Aliasing refers to the situation in which a curving line or shape displayed on a computer screen appears jagged. This is because the image is composed of tiny squares. To correct this problem, graphic software employs anti-aliasing, which smoothes the edges of curving shapes by blending pixels along the edges with other pixels of similar hue but varying degrees of lightness or opacity.

This fools the eye into perceiving the edges as being smooth. The letters in the word smooth appear smooth because of the blending technique that mixes pixels of varying lightness along the curving edges of the letters. The image is anti-aliased. Channels and Color Depth Along with positional data, the pixel stores information about how to display colors. A computer screen creates color by mixing red, green, and blue light.

If a pixel is percent red mixed with 0 percent blue and 0 percent green, it looks red. If a pixel is composed of 50 percent red with 50 percent blue and 0 percent green values, the pixel will look purple. When all three values are 0 percent, the pixel is black, and when all three are percent, the pixel is white. A grayscale image discards all color information except for black, white, and the range of gray in between; this usually comes out to shades of gray. The result is a black-and-white image, like the images in this chapter.

Since color information is limited to the shades of gray, the image file has less information that needs to be stored. If you have studied painting, you may have learned that the primary colors are defined as red, yellow, and blue. The secondary color green, for example, is created when blue is mixed with yellow. This is true for paint but not so for colors created by a lighted computer screen.

As far as computers are concerned, red, green, and blue are the primary colors. Red and green mixed together produce the secondary color yellow. An RGB image stores red, green, and blue information. The information is divided into three channels red, green, and blue and each channel stores the values or percentage of red, green, and blue for each pixel. Start ZBrush. Click Color on the menu bar to open the Color palette. Observe the changing R, G, and B numeric values below the color area. These values change depending on the mixture required to create the selected color.

Click on the R, G, and B sliders to select them and type in numeric values. Set R to , G to 0, and B to The resulting color is a bright fuchsia. The letters in the word smooth are anti-aliased. Figure 1. An image in an RGBA format has an additional, fourth channel known as the alpha channel. The alpha channel stores information on the opacity of individual pixels.

This allows for an image to have regions of transparency. The left side of Figure 1. The right side of Figure 1. White areas are percent opaque and black areas are percent transparent. The gray areas show the amount of transparency. Color depth refers to how much information is used for each of these color channels.

Introducing ZBrush

Computers use bits to store information. A bit is a series of 1s and 0s known as binary because there are only two options, 1 and 0. Each 8-bit channel stores a range of shades of color, allowing for an image to have a total of 16 million colors. A bit RGBA image uses an additional 8 bits for the alpha channel. The more bits you have, the more information you can store, and with more bits, the image can be displayed using a wider range of color. More memory is required to store and work with higher-bit images.

This is not the same as a bit or high color image that uses about 5 bits for each channel. Welcome to the confusing world of computer terminology. You will get used to these kinds of conflicts with some experience. Although computers are strictly logical, the humans that create and use them are not always so!

If you are working as an artist in television or fi lm production, you will be using bit per channel images much more often than bit 5 bits per channel high color images. A format is simply the arrangement of information in a file. Many programs have their own native document format. ZBrush has its own ZBR document format. An image format can be compressed to conserve storage space.

Compression usually affects the quality of the image. If you look closely at a JPEG image from a typical website using a browser, you may notice that it is blurry or grainy or that the colors are not quite right. Image quality has been sacrificed to allow faster download for viewing images over the Internet. When the quality of an image is diminished by the compression, it is said to be a lossy compression format. There are also lossless compressions that can reduce the size of an image without significantly affecting quality. These formats, such as Portable Network Graphics PNG , result in file sizes that are larger than those for which lossy compression is used.

Compression applied to sequences of images is also used for video. Look closely and you can see the distortion, known as artifacts, in the image on the right. If you use a compressed image as the source for a texture used to color a model or as a tool for sculpting, the resulting model can suffer due to low image quality. In addition, some 3D applications and rendering engines will prefer some formats more than others, which is important to understand when you export images created in ZBrush for use in other software packages.

These aspects of working with images in ZBrush will be covered in more depth later in this book. Vector Images As stated earlier, computers can also use vectors to create digital images. A vector graphic is created from formulas and mathematical calculations performed by the computer and its software. The results of these calculations are smooth lines and shapes that are often filled with colors. Vector graphics are continually drawn and updated when the image is scaled, moved, or rotated, so the graphic is always of the same quality no matter what its size and position. Adobe Illustrator and Adobe Flash are popular vector graphic programs.

Vectors are used in a modeling interface to represent 3D objects in 3D packages such as Maya and 3ds Max, and these packages have special rendering engines that can create vector graphics as final output as well. Understanding Resolution It is hard to overstate the importance of understanding resolution when working with ZBrush. Unfortunately, computer resolution is kind of a tricky concept. Simply put, resolution refers to the density of information within a given area.

Most often in computer graphics, resolution is applied to the number of pixels that can be squeezed into a portion of the screen. However, it can also refer to the number of polygons or points squeezed into part of a 3D model. The resolution of your computer screen can determine how the resolution of your images is displayed and created. In addition, when you apply a 2D image texture to a 3D model, the pixel resolution of the 2D image and the polygon resolution of the 3D model must be taken into account or the results achieved may be somewhat disappointing.

You do this kind of work a lot in ZBrush, thus resolution is something you must always keep in mind. The computer you use to create your ZBrush images and models no doubt has a computer monitor attached to it if not, your career in computer graphics may be getting off to a rocky start. The monitor displays text and images on the screen. Screen resolution refers to the number of square-sized pixels that appear on the screen, and this is measured horizontally and vertically. The physical size of the screen itself is usually described in diagonal terms. A inch monitor refers to a screen size that measures 22 inches from one corner diagonally to the opposite corner.

Your particular screen should be able to display text and images in a number of different resolutions. Screen resolution is described in the number of pixels available horizontally times the number of pixels available vertically. Screen resolution will affect how ZBrush looks on your screen. When you have your screen set to a low resolution, less space is available to display both the ZBrush interface and the documents. This is one reason why computer graphics artists will invest a great deal of money on the largest computer monitor they can afford or even use two monitors connected to the same computer.

In the earlier discussion on pixels, I mentioned that when you zoom in on a digital image using a graphics program, you can see the individual pixels that make up the image. Thus it looks blocky. Likewise, when you zoom out, or shrink the document, half the number of pixels is displayed. Zooming in and out of a document is a useful feature for graphics programs. It can allow you to work on the fine details of an image.

But of course, here is where things get tricky: Because of the ability of computer software to zoom in and out of an image, document resolution can be different than screen resolution. When working with computer images, you must always keep in mind the resolution of your document regardless of how it appears on the screen.

An image that is displayed on a computer monitor at percent of its resolution is usually 72 dpi. An image destined for the printed page needs to be at a higher resolution, at least dpi and often between and dpi for commercial printing. This is because most texture images are set to a resolution that is a power of 2. In this context, 2K is shorthand for 2K Academy, which is a standardized resolution for film.

Again, not terribly logical or consistent terminology, but it all comes down to context. If and when you move to animation software such as Maya, you may need to be aware that 2K means different things to different people, depending on the context. Some computer professionals use K as shorthand for kilobyte, or Kb, which refers to the actual storage size of a file on disk—yet another level of confusion.

Aspect Ratio Aspect ratio refers to the dimensions of the image size as a ratio. If the aspect ratio is or 1. This is something you may be more concerned with when rendering an animation for final output from an animation package such as Maya. The polygons of a model can be subdivided, which increases its smooth appearance and allows for a higher level of detail to be sculpted into the surface.

In ZBrush, a model can consist of millions and millions of polygons, as you can see in Figure 1. Because of the special way ZBrush handles memory, these high-resolution models can easily be edited with much less of a performance slowdown than would be experienced using other 3D applications. Furthermore, ZBrush stores many levels of subdivision resolution within a single model fi le, so you can raise and lower the resolution of the 3D geometry while you are working as well as export the same model at several different resolutions for use in another 3D animation package.

The lines on the surface show how the model consists of thousands of square polygons. Rest assured that this topic will be popping up again throughout this book! Understanding 3D Space Figure 1. In a typical 3D software package such as Maya, 3D space is defined in terms of x-, y-, and z-coordinates.

The horizontal dimension is usually described by the x-axis, vertical space is usually defined by the y-coordinates, and depth is usually defined by the z-coordinates some packages reverse the meaning of the y- and z-axes. In Maya, the virtual world contains a grid. Think of it this way: You are wearing a pointy party hat. The point at the very tip of the hat exists in the world at the top of your head; the world space y-coordinates of this point is very high relative to the points that make up the rest of you.

At the same time, the object space y-coordinates of the tip of the hat are also very high relative to the rest of you. However, if you decided to hang upside down while wearing the party hat, the world space coordinates of the tip of the hat would now be lower than the world space coordinates that make up the rest of you.

Yet, in terms of object space, we understand that the tip of the hat is still the very top of the object, even when the hat is upside down. This is based on how we understand the object and its purpose in the world. If you were to model that hat using 3D modeling software, you would understand that the tip of the hat is the top, even when you rotate the hat upside down.

Unless you are working with rapid prototyping machines that can fabricate a physical object based on data stored in a virtual 3D fi le, you will always be working with two-dimensional representations of three-dimensional objects on a computer screen. Subsequent editions of this book will no doubt have to deal with rapid prototyping as the technology becomes cheaper and more accessible to artists. When we speak of 3D, we are using shorthand that assumes we are talking about a 3D virtual object that exists on a 2D screen. A typical digital painting program such as Photoshop plots pixels horizontally and vertically, along the x- and y-axis respectively.

A 3D program stores information with additional coordinates along the z-axis, which gives the virtual image depth. A virtual object existing in the 3D space of the software is made of polygons. The polygons give the object a surface that can be deformed, translated, and animated. A polygon is a geometric shape defined by three or more points points are also referred to as vertices ; examples of polygons are shown in Figure 1. ZBrush restricts the polygons to three or four points, but other software packages can have polygons with any number of vertices.

This is important to remember when importing objects from another package into ZBrush. ZBrush will automatically split an n-sided more than 4-point polygon into 3- and 4-point polygons or quadrilaterals when it is imported. These are converted at render time to triangle-shaped polygons by the rendering engine; thus polygons are the standard currency of 3D software. When it comes to 3D models, ZBrush works only with polygon geometry.

The resolution of a 3D object is also referred to as its density. ZBrush is programmed in such a way that a 3D object can have millions of polygons and an astonishing level of detail while still maintaining a high level of response on the computer during the sculpting and editing process. This is what allows the ZBrush artist to feel as if they are sculpting digital clay in a very intuitive and artistic fashion.

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Pixologic has developed its own protocols for 2D and 3D images based on the pixol. For this reason ZBrush runs quite well even on a decent laptop. A polygon appears in ZBrush as a shaded shape with three or four vertices. A virtual 3D object is made up of adjacent polygons that form the surface.

In ZBrush, the term 3D tool is used to refer to a 3D object; the reason for this is explained in Chapter 2. The surface of a polygon has an inside and an outside. A 3D tool made up of millions of polygons has millions of normals that describe how the surface appears when it reacts to virtual light and shadow see Figure 1.

Normals are an important aspect of working with polygon geometry. Information about the direction of normals on a dense object can be stored in a special texture known as a normal map. Rendering engines for 3D software and video games can make a lowerdensity version of the same model appear to have more detail than its geometry will allow by using a normal map to help shade the object.

ZBrush is an extremely popular tool in the gaming industry because of the ease with which normal maps can be created and exported from the software. A pixel is a square that contains information about color, transparency, and its location along the x- and y-axis. The unique innovation of ZBrush is the pixol, which is like a pixel with added information about its location along the z-axis.

Furthermore, the pixol also stores information on the material applied to it. This means each pixol knows how to react to the lighting, shading, and the environment of a ZBrush composition when it is rendered. When Pixologic first introduced ZBrush, it began as a paint program that could create images in two and a half dimensions known as 2. A brush stroke in ZBrush is painted on the canvas and can then be rotated, scaled, and positioned anywhere on the canvas. Everything exists on a canvas. ZBrush added 3D objects that could be incorporated into 2.

Subsequent versions of ZBrush refined the sculpting tools and improved the portability of 3D objects with animation projects, which led to the overwhelming popularity of ZBrush as a digital sculpting program. Being a Digital Artist There is nothing inherent in the computer or the software that will turn you into a great artist. Becoming a good artist still must be achieved the old-fashioned way—through hard work, practice, and study.

Nine times out of ten, when you see some jaw-dropping, amazing piece of digital art in an Internet forum or as part of a film, the artist who created it has spent a fair amount of time studying traditional art. Even if the artist has never held a real paintbrush, they still have studied what it takes to make a great work. This book is concerned with making you feel comfortable using ZBrush.

There will not be much discussion on the fundamentals of art or sculpting. That said, you should understand that composition, balance, positive and negative space, lighting, anatomy, form, and silhouette are just a few of the concepts a real artist digital or traditional must master. I strongly encourage you step away from the computer monitor, pick up a pencil or a brush, and attend some life drawing classes. Your digital artwork will reveal much about who you are as well as how much time you have taken to study and explore traditional art techniques and the natural world.

While working through the exercises in this book on your way to mastering the ZBrush interface and its tools, you should also take the time to explore more using the resources on this list. His book will incorporate a deep level of understanding of the art of digital sculpture and the concepts behind creating great artwork into more advanced ZBrush topics and lessons. You can check out www. ZBrush users gather at ZBrushCentral to post their work, critique the work of fellow artists, ask questions, solve problems, and share their enthusiasm for ZBrush. Feel free to visit the site, create a free account, and post examples of your work.

Introducing ZBrush 4 - eBook - uxalalysom.tk

These can be ordered online at www. Few other digital art packages boast such an elegant working environment. If on a real studio tour, an artist pointed out various objects and tools without an explanation, you might get pretty frustrated. On the other hand, the artist could never adequately explain every tool in a short amount of time. The situation is the same with this chapter.

In this interface tour, I will try to strike a balance between explaining where the ZBrush tools are and explaining what they do. The rest of the book will provide deeper explanations about the tools and interface features. To get the most out of this chapter, you may want to have ZBrush at the ready. There are a few exercises to help you make sense of all the information.

This is because the tools in ZBrush are very different from the typical 3D modeling and animation tools. If you are an experienced 3D modeler, you may panic a little bit at the fact that ZBrush does not use a typical 3D space environment. Either way, the best thing to do when you first open ZBrush is to shed your preconceived ideas of how a 3D program is supposed to work.

Instead, step back for a moment and accept the essence of ZBrush. It is a digital sculpting and painting workshop. Our tour of the interface will start at the center and move outward, from left to right in a clockwise fashion. Palettes Figure 2. Breaking the interface down like this will help to make it more accessible. The canvas is the square that dominates the center of the program. It is where you create your art, whether it is a digital painting or a three-dimensional digital sculpture or any combination of paint strokes and sculpture.

The ZBrush canvas also has a depth axis, or a z-axis. Hence the name, ZBrush. When you use a tool to paint a brush stroke on the canvas, you can move it backward and forward in space, placing it in front of or behind other brush strokes. The default gradient you see on the canvas is meant to suggest the depth dimension in the canvas. The canvas can be thought of as a place to create digital illustrations using digital brush strokes, or it can be thought of as a virtual sculpting stand where you can mold a lump of digital clay into anything you can imagine.

And, in fact, the canvas can also be used to integrate your sculptures into your illustrations. An illustration created on the canvas is referred to as a ZBrush document. Documents can be saved in the special ZBR format or exported in a number of other formats, such as the Adobe Photoshop format. A digital sculpture created on the canvas is referred to as a mesh or a 3D tool. And new to ZBrush 4, you can now save your document, tool, and many other elements all in a single file called a ZProject. ZProjects use the ZPR file format.

You can change the colors and the layouts by clicking the buttons in the upper-right portion of the interface shown below. Light Box Figure 2. Light Box keeps all the fi les you need at your fi ngertips, whether they are the sample fi les that ship with ZBrush or your own creations. The name Light Box is meant to suggest the light tables photographers use when examining collections of their photographic negatives. The Light Box interface appears as a strip when you move your mouse pointer to the bottom of the interface.

You can drag the icons on the strip left or right to see all of the fi les in the Project folder. To do this, click on the space between two tool icons and drag to the left. To load a fi le, double-click or quickly double-tap your stylus on your digital tablet on an icon.

Try double-clicking on the DemoSoldier. ZPR icon to load this project onto the canvas. Adding the asterisk will tell ZBrush to search for all files in the Project folder that start with Default. ZPR and DefaultSphere. You can change the height of the Light Box display by clicking one of the four stack icons at the far right of the Light Box menu. The icons within Light Box will automatically rearrange themselves to fit the new height.

This is useful when you have a lot of files in the folder. The New button at the far right lets you stack an additional Light Box strip on top of the current one. Using this feature, you can have a number of Light Box strips open, each one displaying the contents of a different folder. Try clicking the New button and then switch to the Tool folder. To remove a strip, just click the Close button. Figure 2. Each strip can display the contents of a different folder. On the Macintosh, a shortcut is called an alias. The ZBrush Shelves Figure 2. Shelves with various buttons and settings surround the ZBrush canvas on the left, top, and right.

The Shelf on the Left The left shelf has buttons that open fly-out libraries of items that you will access often in a typical ZBrush editing session. The fly-out libraries from the top of the left shelf, moving down consist of the sculpting brushes, the stroke types, the alphas, the textures, the material shaders, the color picker, and the color 1 and color 2 swatches.

The book reinforces the core concepts of ZBrush through fun, hands-on tutorials that will help you achieve amazing results. The book includes a DVD with example files and models to help guide you through each lesson, as well as movies to show you the sculpting techniques used to create many of the digital sculptures. Photoshop CC and Lightroom.

Stephen Laskevitch. Photoshop CS5 For Dummies. Peter Bauer. Adobe Creative Team. Adobe Photoshop CS6 for Photographers. Martin Evening. Adobe Photoshop CS6 Bible. Brad Dayley. Photoshop Elements 13 For Dummies. Barbara Obermeier. Andrew Faulkner. Kishore Topu. Edward C. GIMP 2. Klaus Goelker. Maxim Jago. David Pogue. Adobe Photoshop CS5 on Demand. Steve Johnson. NX 11 Tutorial. Online Instructor. Ableton Live 9. Keith Robinson. SketchUp for Interior Design.

Lydia Cline. Tutorial Books. William Galls. Chris Georgenes. Donnie Gladfelter. Using GIMP. James Pyles. Scott Onstott. Olivier Lecarme. How to Do Everything: iPad, 3rd Edition. Joli Ballew. Fusion for Makers. Lydia Sloan Cline. Ableton Live 8 and Suite 8. Creating Motion Graphics with After Effects. Chris Meyer. Imagine Publishing. Autodesk Revit for Architecture. Eric Wing. Lesa Snider. My iPad mini.