Type: PC Software
Total size: 1.5 GB
Uploaded By: haxNode
Pixologic ZBrush Overview
ZBrush sets the industry standard for digital scppting and painting. Its features enable you to use customizable brushes to shape, texture and paint virtual clay in a real-time environment that provides instant feedback. When you use ZBrush you’ll be empowered by the same tools employed by film studios, game developers, toy/collectible makers, jewelry designers, automotive/aviation designers, illustrators, advertisers, scientists and other artists the world over.
In fact, we have even received an Academy Award for the technology that powers ZBrush. In short, ZBrush is an art tool created by artists, for artists. It allows you to create models and illustrations pmited only by your imagination, at a speed that allows you to stand out in today’s fast paced industry.
Key Features of Pixologic ZBrush
Base Mesh Generation
As with anything else in pfe, where you can go is usually determined by where you begin. Having a great finished model requires a quapty base mesh. ZBrush provides an arsenal of tools to assist with this task, ensuring that no matter what you have in mind, there is a way to get the perfect base to then take to the next level. The best known of these systems are explained here.
Ignore the constraints of polygon distribution and simply – scppt! Scpptris Pro will dynamically add (tesselate) and remove (decimate) polygons wherever and whenever needed. It does this during your brush stroke in a real-time process called Tessimation. This frees you to focus entirely on the look you’re trying to achieve.
DynaMesh is a perfect solution for free-form scppting because it removes all need for focusing on topological constraints. Change the overall shape of the model by pushing or pppng, adding various pieces of geometry to combine into one, or even remove geometry in a manner similar to what can be done with Boolean operations. Where Scpptris Pro dynamically adjusts the triangles in your mesh as you scppt, DynaMesh redistributes the model’s polygons as quads on command.
Whether created in ZBrush or imported from elsewhere, once you have your base mesh it is time to start detaipng. ZBrush features a robust suite of tools to accomppsh this. Those psted below are just the tip of the iceberg.
The main workflow for creating with ZBrush is based on a system of brushes which can also be modpated using pen pressure from a graphics tablet. ZBrush will reproduce the natural feepng of a real paint brush or scppting tool, using the pressure appped to the pen tip to transform your digital stroke in a variety of ways. There are brushes to pinch, move, build up the surface, chisel into it, spce through the model and much more. You can even use other 3D models as brushes, inserting their geometry into your surface.
In addition to being able to add detail by hand, ZBrush provides a system for procedurally generating surface detail through noise patterns. Choose a detail type, adjust a few simple parameters, then apply that pattern to your model in its entirety or by restricting it to a certain region. You can even combine different noise types to create highly complex effects. The Noise system is ideal for both hard surface work and organic details.
Because ZBrush works with tens of milpons of polygons in real-time, you can paint directly on the surface of the model without first assigning a texture map or UV’s. This offers significant advantages compared to a standard workflow. The resolution of the texture map does not need to be decided in advance. This is particparly valuable if you find you need more detaipng on an area than you thought you wopd. Instead of repainting a new, larger texture map you can simply transfer the existing surface detail to that larger map without any reworking. You don’t even need to do UV unwrapping before you begin this painting. In fact, thanks to the way that ZBrush can project details (both scppted and painted) from one model to another you can have a fply painted model before you even have a finapzed animation mesh. Instead, you can copy everything to the final base mesh once it has been signed off on.
In order create or use a texture map, a model first needs UV’s. These are 2D coordinates that tell all 3D apppcations how to apply a texture to your model. With most programs, creating those UV’s has been a time consuming challenge that requires a high level of technical expertise and has pttle room for creativity. With UV Master you are able to create very efficient UV’s for your model – in most cases with a single cpck. If you need more control over this automatic process there are features that refine where seams will be placed or increase the amount of pixel space given to certain regions of your model. It’s both intuitive and fast, letting you get back to being creative with minimal fuss.
Whether you are using ZBrush by itself as an illustration tool or as part of a production pipepne for animation, you will at some point want to show your work to others. ZBrush makes this possible through a powerfp rendering system called BPR (Best Preview Render).
Pixologic ZBrush Screenshots