ZBrush 3,1 meneruskan misi kami untuk menciptakan alat-alat canggih dan inovatif untuk seniman digital. ZMapper Eksporter memungkinkan lebih banyak fleksibilitas untuk ekspor. Lessons on ZBrush 86 MB. PSD MB. Tutorial ini adalah bagian akhir dari 4 episode latihan. Dalam bagian ini tutorial ditambahkan alpha brushes, bahan, textures dan tentu saja hal yang paling berharga. Berikut adalah daftarnya: Bamboo.
Box Modeling Precision Texturing. Golden Idol. ZBrush tutor 1. ZBrush for Beginners Part ZBrush for Beginners Part 03 ZTL MB. OBJ MB. ZBrush for Beginners. ZBrush for Beginners 35 MB. For example, if you change this setting to 50 then when the mesh is created there will be 50 ZSpheres added between each ZSphere to create a smoother mesh but maintain the silhouette of your sketch.
Change the Border slider to add loops of polygons around the polygroups gener- ated by the Unified Skin. This option is available only when the Polish Surface slider is at a different value than 0. When previewing a Unified Skin, like with the Adaptive Skin, you can sculpt with all the default ZBrush sculpting brushes and tools.
But in opposition to the Adaptive skin, if you un-preview your model and preview it again, all your sculpting will be lost. If you have created a ZSphere armature tool with the intent to sketch on top of this ZSphere mesh then an Adaptive Skin can be used. The projection of the sketch into the Adaptive Skin is done locally per ZSphere radius.
The quality of the Adaptive Skin will depend on each underlying armature ZSphere. First, draw a ZSphere out on the canvas in edit mode. Click on the Edit Sketch button to leave sketch mode. Click on the Show Sketch button or click Bind.
This will display the sketch ZSpheres in the new Ghost Transparency. The projection quality is set by the radius of each individual ZSphere of the ar- mature. The Unified Skin has been improved greatly to give the capability to create smooth polygroups with edge looping around designated parts of your mesh.
The new features and settings will improve the result of your ZSketch models. With the new Polish and Border features you can sketch out anything imaginable and have a smooth polygrouped mesh after. If the setting is set to 6 then there will be 6 rings of border around each polygroup. Concept car with its base mesh generated by a new Unified Skin and refined with the new sculpt- ing brushes.
Image by Ofer Alon. For the first two ways, only use the tools or the Move mode, to do local deformations, depending on the tool you are using. Your ZSketch will appear in Ghost transparency and it will be deformed when you move, scale or rotate your skeleton ZSpheres.
Manipulate the ZSpheres to apply a deformation to the ZSketch. Some of them are basically the same but have different settings such as the Sketch 1, 2 and 3 which give the same result with different embed depths. This is the best way to create floating strips to create major parts like the arms, legs, etc. The difference between these three brushes is the embed depth of the stroke: Sketch1 will create a strip which will be almost inside the underlining surface while Sketch 3 will be almost out of the surface.
When choosing a Smooth brush, it becomes the default Smooth brush which will be used when using the Shift key, until another Smooth brush is selected. Please, read the Fuse brush section below. Com- bined with the ALT key, the brush will push inside the model. Combined with the ALT key, the brush will give a shrink effect to your strip. It will allow you to have a better continuation of existing strokes.
The num- ber of deleted ZSpheres will depend on the size of the brush radius. ZBrush will also remember the order of your strokes. If you click on the highest stroke first while holding down the ALT key it will only delete that stroke as you move up and down.
It can be in the middle of a ZSphere strip or at the root of a ZSphere strip. But this is not a tip to always keep in mind since ZSketch is powerful enough to let you create your model as you wish! Like an Adaptive Skin, you can sculpt on this preview mesh with all the traditional sculpting tools.
From concept to final sculpting, with the help of ZSpheres II, ZSketch and a mix of organic and mechanical sculpting brushes and tools. Image by Jeff Feligno. Similar to drawing your ideas on a paper block, ZBrush includes Quick Sketch.
You simply open a blank document and draw your ideas using a small, streamlined set of brushes. Quick Sketch uses symmetry by default to accelerate your drawing and let you imagine your best art. ZBrush Artist: Martin Krol. Quick Sketch is based on the idea of Polypainting over a 3D plane. When you want to finish with Quick Sketch and switch to traditional sculpting or paint- ing, ZBrush keep several settings from Quick Sketch. With the new Surface noise feature, you can apply a procedural noise to your cre- ations, driven by simple parameters and curves for easy customization.
By default, the noise is applied globally to your object in a non-destructive way, allowing you to change it at any time or even remove it. Or with a single click you can apply it to your model as geometry that can be sculpted. It can even be a mix of different noises, blended together with the help of the powerful ZBrush masks. Noise is also available as a brush setting, which means that you will be able to add this noise to any of your ZBrush sculpting brushes!
Apply Surface Noise globally to your 3D model In the Tool palette, open the Surface menu and click on the Noise button: a noise will be displayed on your model. At this first step, the noise is parametric and can be re- moved or change at anytime, by deactivating the Noise feature or changing the different parameters. High value will create a large noise while small values create a thin noise.
A larger size will also deform the mesh at an extreme displacement. It is recommended to keep this setting at a lower level. The Curve editor is working like all the others ZBrush Curves editors. The cavity of the noise will take on either of the colors.
When using higher scale and strength values it is advised to have this setting at Notes: The quality of the noise generated but the Apply to Mesh function will depends of the resolu- tion of your Polymesh.
If needed, increase the Subdivision levels. The Surface noise is a visual effect applied on the top of the mesh and no real deformation is applied. It means that if you set a high value for the strength and after, do the Apply to Mesh action, you may have unexpected results with very high elevations.
Remember that the view of the Noise is like viewing a bump map but when the Apply to Mesh is clicked it is like applying a dis- placement map to a mesh. If you have an extremely high scale and strength then your mesh will be pushed to extreme points. You will find in the Brush palette, a new section dedicated to the new noise functions. It will allow you to add a noise parameter to all brushes. The Curve editor works like all other ZBrush Curve editors.
ZBrush Artist: Joel Mongeon. Already popular for its organic capabilities, ZBrush is now opening the door to me- chanical sculpting with the new Planar, Trim, Polish and Trim brushes.
Combined with the improved Lazy Mouse and the new Backtrack feature, you will be able to make accurate planar surfaces on your models. The combination of these new features lets you build a near infinite array of new brushes which will perfectly suit all your sculpting needs.
To help you get going even faster in your new mechanical world, ZBrush provides you with an array of new dedicated hard-surface brushes! Mechanical sculpting is mainly based on the Planar, Trim and Polish Brushes. Along with Lazy Mouse and with the new Brush Imbed and Depth parameters, only your imagi- nation will slow you down.
Planar Brushes The new Planar Brushes add the ability to flatten parts of your model, without creating overlapping in your geometry. By default, these brushes will flatten everything which is at the clicking level and aligned with the brush angle, by doing a click drag. This means that if you click inside a cavity, everything which is above the click depth will be flattened. If your click is on the top of a peak, nothing will be flattened as your cur- sor is already on the top of the model.
All the other Planar brushes available are just a set of presets based on the features explained in the next two chapters. Trim Brushes The new Trim Brushes are based on the Planar brushes but provide a different be- havior based on the normal of the surface or the screen working plane. Compared to the Planar brushes, which are restricted to a clicked point on the surface or a defined path, the Trim brushes do not have these restrictions by default.
Most of the Trim brushes available are just a set of presets based on the features explained in the next two chapters. Finish and Polish In addition to the Planar and Trim brushes, extra brushes have been introduced to create the overall shape or global modifications like the Clay Finish which is designed to create rough mechanical shapes very easily, or the Form Brush which can modify the shape without affecting the small details of your model.
With the help of the Clay Polish and Form Polish, you will be able to refine your model and do some fine tuning, all in freehand sculpting. We highly recommend sPolish Soft Polish , mPolish Medium Polish and hPol- ish High Polish to build your shape and create polished surfaces with hard edges in a freehand way.
New Lazy Mouse options The Lazy Mouse has several new options which provide some new strokes, espe- cially for the planar Brush. These include the new Group Loops to create loops of polygons, Polygroup masking to easily work on the polygroups without affecting the polygons outside this group, the Remesh tool which combines with SubTools to create complex base meshes and all the dozens of new brush options.
To create a base mesh for your sculpting in ZBrush, you can use ZSpheres, ZSketch, the built-in primitives or importing a model from another 3D package. Another solution is to do a remeshing of a model or a set of different objects. The Remeshing method cre- ates new geometry with a new topology, but which is based off an existing one. ZBrush uses its Unified Skin technology based on voxels to create the model. The purpose of these tools is to create a new base mesh rather than a high resolution mesh, based on the combination of different high resolution models.
We recommend you use this only for the purpose of creating base meshes. The Remesh function can use a symmetry option, associated with the Remesh All option. It will create a symmetrical result based on the selected SubTool when clicking on the Remesh all button. If you have a SubTool which is located on the right of the selected SubTool, when remeshing the model, the final mesh will have the shape of this SubTool on the right -and- left of the selected SubTool, the three of them combined in one and unique mesh.
On the top, the original SubTools, below, the result of different Remeshes. Note: You can use remesh to combine different high resolution models and then use the Project All function in the SubTool menu to reproject the details. Please keep in mind that some artifacts can appear on the junction of certain models. In the Remesh All section, change the options according to your needs and press the Remesh All button to generate a new SubTool. This new SubTool will be appended to your existing model.
Remesh All offers different options which affect the quality or the shape of the result- ing model. Change these options before pressing the Remesh All button.
Increasing the value can create high resolution meshes, making final sculpting more complex. This function is combined with two options, represented by a square or a rounded corner.
The symmetry axis of the selected SubTool will be applied on all results. To create a large amount of variation for your remeshing of models and create the base mesh that you need, you will by default combine all SubTools to create the new mesh. You can also subtract the Subtools of your choice, or request the computing of an intersection.
ZBrush include these three Boolean operators for use when generating a remesh. The generated model will be computed from the top SubTool to the bottom one, as listed in the SubTool menu.
To activate or change an operator, click on one of the three opera- tors icons in the SubTool selector: Add default , Subtract or Intersection. These operators can be mixed with the symmetry option of the activated SubTool before launching the Remeshing function. Some brushes have a new behavior or several new behaviors and some existing brushes have been updated.
This is the list of the main additions and modifications. Note: To revert to the original behavior of the ZBrush 3. Because of the large number of new brushes, a new system using the alphabet and associated shortcuts has been added. At the top, the full brush list. If you hit the wrong key, press the space bar to go back to the default brush window. The Clay Tubes brush is now selected.
Then, by pressing keystrokes like B,C,T, you will be able to pick the brush that you want in an efficient way. Smooth Brushes In version 3. It is no longer possible to select a Smooth brush separately as with the other brushes. If you need to change the kind of Smooth brush, just pick a new one. Your selection will then become active every time you hold down the Shift key, until you select a different Smooth brush. To change the modifiers for the currently-selected Smooth brush, hold down the Shift key and make your changes.
For example, hold Shift and adjust the Z Intensity slider. These changes will only affect the Smooth brush. A higher number will take longer to smooth out the mesh, but keep in mind this will have a slow reaction on a model with high poly counts.
Several new Smooth brushes have been added with new behaviors. The brushes like Smooth Peaks and Smooth Valleys are using cavity masking to smooth only the inside of a cavity or the top of the peaks of the geometry, while the Smooth Valance, Smooth Subdivision or Smooth Groups and others will do a smooth depending of the topology of your model. For example, if there is a point that has 5 faces sharing that point it will receive more smoothing weight then a point that is sharing 3 faces.
This is a great way to smooth out your last stroke but not loose a lot of the surface detail. Weight Strength: Will control how strong the smooth algorithm will react to the surface for each mode.
At lower numbers, the smooth stroke will have less effect on the surface. This slider only works with the Groups Borders and Creased Edges mode. Move brushes In addition to several new Move brushes, ZBrush offers new behaviors while drag- ging polygons with the Move brush:. Note: You can use the Brush Imbed and Depth to affect the form of the Move brush while using these shortcuts.
Brush Stroke length The stroke length of your brush has been increased by a significant factor over ZBrush 3. In fact, your strokes can now last a full 16 times longer! Now your strokes can be continued for a very long period before stopping on your mesh.
New brushes settings This section covers the main brush settings which have been added in ZBrush 3. Other minor settings are described in the List of Changes section of this documentation. By default, the brushes are shaped like a sphere, with the dividing line between hemispheres being oriented to the surface. With the new Brush Imbed and Brush Depth parameters located in the Brush palette, you can now change the shape of this sphere to flatten the top, bottom, sides and even move its center up or down.
By flattening the top of the brush, only the parts which are on the same level of the hemisphere or below are affected by the stroke. If the brush is intersecting a surface which is in the upper hemisphere, nothing will happen. You can use the graphical widget to interactively change the Depth settings, or use the sliders. The Sample menu, located in the Brush palette, groups all the brush internal settings which will affect the result of your brush.
These settings are related to the algorithm be- hind the brush itself. If the settings are set at. For example, if you apply the clay brush from the center to the outside of the polysphere with the OnSurface on and off you will see a smoother stroke around the sphere with OnSurface turned on.
This is a key setting when hard surface modeling. This will add stabilization to rough surfaces. If you take the Clay Tubes brush along the Sphere with the setting at you will see how the surface normal is following the stroke. This will also cause a slower reaction to the surface. The Modifiers menu, located in the Brush palette, provides fine control over the brush itself and its shape. With the Tilt slider, set an angle to rotate your brush and create new sculpting effects. With this option, you will be able to sculpt the scales of a lizard easier than before.
Different results of the Tilt setting applied to various brushes. The trail option, used by QuickSketch makes a connection between the beginning and the end of your stroke, by continuing it, depending of the option value. If the slider is set to 35 then the tilt of the brush will be 35 degrees.
If the setting was at 50 then the brush will be applied 50x along the stroke. As you move along the stroke the current brush will be applied 50 more times from the point of the brush cursor. If you set this setting relatively high you will see the stroke continue to grow even though your cursor is well past the point. If you have the setting at then the first selected polygroup will be the only part of the mesh that can be edited by the se- lected brush.
If you have the slider any lower then that it will allow multiple polygroups to be edited on a given stroke but with less intensity than the first selected polygroup. The Mask by Polygroup in action: on the left, the original model with several polygroups, on the right, only the bottom polygroup has been deformed by the brush, without affecting the other polygroups.
At the top, with the Directional masking. At the bottom, the same stroke without the option. All the brushes can use an Alpha and a texture, from sculpting to texturing. Now, with ZBrush 3. This will be stretched to the entire brush surface, creating new effects. The right of the curve is the center and the left represents the borders of the Alpha or Texture.
The selected alpha will be stretched to fit the selected brush size. Some of these brushes use brand new technology while others are a mix of existing brushes with the addition of new features and options. Because ZBrush 3. The most important ones are still available in the Brush palette. At any time, you can reorganize which brushes are in the Brush palette in LightBox by manually moving the brushes from one location to another through the ZBrush folders located on your hard drive as follows:.
Move these brushes between directories as you wish to have complete control. How- ever, we recommend not deleting any of these brushes because the only way to get them back is to do a completely new install.
This does not seem to be a major loss to me, since normal maps tend to look different in different renders, so an OpenGL preview is not as valuable as you might think, and the native preview in the rendering product such as GoZ will provide seems to be a much better future for the product.
The nature of the 3D industry, which I have worked in professionally for over 20 years is that things change. I guess you disagree. It looks like maybe you did that next - if so, thanks. I ask that rather silly sounding question because I make it exactly two sentences in with that link before reading.
What problems are you having in crating normal maps? The link above seems about correct. Just ignore the reference to zmapper and the built in tools will create the maps ok. The options seem to have clear explainations.
For documentation, in the download centre there is document showing the changes in version 3. A lot of this is also applicable for 3. When the instructions differ from the interface, it really throws me. The traditional tutorials tell you that you must be at such-and-such a level of detail the lowest, then move to the highest and do…etc. The uv layout can be improved by hiding the seams where possible. Select SmoothUV if you also select this in the blender subsurf modifier settings.
Zbrush 3. The only current versions are 3. ZMapper is no longer available for 3.
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