Character Creation Series

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Blender ZbrushCharacter Creation SeriesPart Two: Zbrush Importing and Sculpting1

Table ofContentsForward4The Interface Overview5Importing the Base Mesh6Beginning the Sculpting Process7The Brush Palette9Brushes Overview10MatCaps Overview11Basic introduction to Part TwoA general overview of Zbrush’s interfaceBringing in the OBJ to Zbrush from Part OneThe basics of Zbrush sculpting explainedThe Zbrush Brush Palette explainedA brief overview of some of the brushes we will be usingAn explanation of Zbrush MatCaps2

Table ofContentsSculpting the Character12Sculpt Detailing16Adding SubTools18Video Companion20Index22Techniques for sculpting a character in ZbrushTechniques for detailing a character in ZbrushAn overview of SubTools, benefits and uses.A hyperlink to a video companion for Part Two3

ForwardPart Two Zbrush Importing and Sculpting4In the second part of this tutorial series you will learn how to import the basemesh you created in part one to Zbrush. The basics of the Zbrush interfacewill be discussed, and the basics of sculpting your character will be presentedthrough text, pictures and video format.Keep in mind that sculpting is more about practice and technique than basicknowledge that can be taught in a tutorial. A lot of your progress will be theresult of practice. This guide can only give you the idea behind the process.

The InterfaceOverview123456789101. Brush Selection Tool: A variety of brushesto sculpt with can be selected here.6. Color Palette: This controls the color ofyour brush.2. Stroke Tool Selection: Tools can be selected here that change the stroke of your brush.7. Color Intensity: This controls how strongcolor is applied.3. The Alpha Palette: Alpha maps can beselected and loaded in here that change theway your brush strokes look.8. Brush Intensity: This controls how strongyour brush is.4. Texture Palette: Textures can be selectedhere to be painted with.5. MatCap Selection: A selection of premadeshaders for your model can be selected here.9. Brush Size: This controls the size of yourselected brush.10. Tool Panel: Various options for saving andloading models in Zbrush are here.5

Importing theBase MeshSince Zbrush cannot read Blender3D’s native file format, .BLENDER,we exported it as an .OBJ file type.1. Click Import on the Tool Panel.2. Browse to the OBJ File, open it.Zbrush has successfully importedthe OBJ file, meaning you havetransferred the base mesh fromBlender to Zbrush and you are nowready to sculpt.3. Drag anywhere on the Zbrush’smain document area to place thebasemesh.You can place multiple instances of amodel on the document, or canvas, butyou can only work on one. For thisreason you only need one instanceof the base mesh on the canvas. Ifyou accidentally put more than one,press CTRL N to clear the canvas.4. To actually start to sculpt the base mesh, click the EDIT button(or press “T”) to make it editable.6

Beginning theSculpting ProcessThe first thing that must be done when sculpting in Zbrush is increasingthe level of detail, or polycount of the base mesh. Currently, the basemesh is very blocky because it is made up of very few faces, or polys.Zbrush details by moving individual polys, so if we increase the polys tonumbers in the millions, we can achieve high levels of detail.1. On the right hand side of thescreen, locate and click the GeometryTab.2. Click “Divide”Divide literally divides the polygons,what was once one poly, is now four.So automatically the polycount is muchhigher. Notice the “Smt” button is highlightedautomatically, this stands for smooth.Each time you click Divide, it will smooththe mesh.One thing to keep in mind, while higherpolycounts allow for more detail, it isalso easier to make a mess. It is betterto slowly increase your polycount as youneed too. High polycounts also decreasethe performance of your system.7

SculptingContinuedAbove Image: On the left, the normal basemesh in Zbrush. On the right, the same basemesh with 3 divisions and smoothing. Theone on the right has more polys, so more detailcan be sculpted in.Right Images: Top right: A sphere with 1division level. Bottom right: The same spherewith 4 division levels. As you can see, themore divisions the better the result.8

The BrushPaletteZbrush comes equipped with many brushes for your use. When you click the BrushPalette a box appears with many options. It would be wise to experiment with many ofthese brushes, as they are all useful and do a variety of different things. The results inthis tutorial series were made with the use of only a few brushes.The above brushes are the ones used mostly for the creation of this character. Clay,ClayBuildup, ClayTubes, MaskPen, Morph, Smooth, Standard, and Trim Dynamic.9

BrushesOverviewClay: This brush is useful for adding mass to model. This brush acts justlike sculpting in physical clay would.Clay Buildup: This is a more extreme version of the Clay Brush. Thisbrush simulates slabbing huge amounts of a clay onto a model.Clay Tubes: This is the brush I use mostly for adding controlled amounts of“clay” to a model. It’s great for blocking out muscular shapes.MaskPen: You can mask out certain portions of a model so you don’taccidentally sculpt on it.Morph: This is a great brush used in detailing. This brush allows you tomorph parts of a model back to previous states.Smooth: This brush smooths over parts of a model.Standard: This is sort of like a pen brush. It is good for sculpting controlleddetails.Trim Dynamic: This is a good brush to trim down a section of a model andflatten it out.10

MatCapsOverviewIf you click the MatCaps palette you will see several MatCaps appear. MatCaps affectthe appearance of a model while sculpting, but will not change the final result of themodel. Find a MatCap you like, and use it. Different MatCaps will allow to see your sculptfrom different color and light perspectives which can be useful in creating a good sculpt.Two different MatCaps. On the left MatCap Red Wax, on the right MatCap White Cavity.11

Sculpting TheCharacterWhen sculpting the character it’s always good to have anatomy references close by.You will produce better results when referring to images of muscles and whateverobjects you are sculpting.1. Add a few division levels byclicking “Divide” under theGeometry tab, or just pressCTRL D.Like in Blender, when usingthe Mirror Modifier, it is bestto model with symmetry alongthe X-Axis, so both sides arethe same with minimal effort.Press the “X” key to activatethis feature.2.Select the “ClayTubes” brushand change the Brush Size tosomething smaller. Start blocking in the chest.By applying the brush with theleft mouse button, or a tablet youadd clay. Hold down the ALT key to subtract or dig into the model for the middle chest.It is best to slowly add to the model, rather than rush and build up too much mass onthe model.It’s also important to work on the entire model at the same time, moving from body partto body part, sort of jumping around. This ensures that the model stays in properproportion, both in terms of size and detail.12

SculptingContinued4. Use the “Smooth” brush onthe abs. Remember to cut intothem as well as build up theshapes of the muscles.In the image below you cansee blocked in leg muscles andsmoothed abs muscles.3. Use the “Smooth” brush tosmooth out the rough ClayTubesblocky shapes.If need be, continue to refine.When sculpting you will probablyneed to continue to work andrework the details of the model. Inthe above image the abdominalmuscles are being blocked in withClayTubes.13

SculptingContinuedIn the above images you can see thenumber of divisions increase with thedetail level of the model. These imagesshow the model move from a blocky basemesh to a model with some basic14muscular forms. No great details aresculpted into the model as of yet. Theseresults ca

Part Two Zbrush Importing and Sculpting Forward In the second part of this tutorial series you will learn how to import the base mesh you created in part one to Zbrush. The basics of the Zbrush interface will be discus

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