Acquisitions Editor: Mariann Barsolog-ecx.images-amazon.com/images/G/01/wiley-ems/ZBrush... · 2008. 7. 30. · Gesture, Form, and Proportion 1 Gesture 1 Form 4 Proportion 8 ... Making

Acquisitions Editor: Mariann BarsoloDevelopment Editor: Pete GaughanTechnical Editor: Ryan KingslienProduction Editor: Elizabeth Ginns BrittenCopy Editor: Elizabeth WelchProduction Manager: Tim TateVice President and Executive Group Publisher: Richard SwadleyVice President and Executive Publisher: Joseph B. WikertVice President and Publisher: Neil EddeMedia Associate Project Manager: Laura AtkinsonMedia Associate Producer: Angie DennyMedia Quality Assurance: Josh FrankBook Designer and Compositor: Chris Gillespie, Happenstance Type-O-RamaProofreader: Nancy BellIndexer: Nancy GuentherCover Designer: Ryan SneedCover Image: Scott Spencer, Hector Delatorre

Copyright © 2008 by Wiley Publishing, Inc., Indianapolis, Indiana

Published simultaneously in Canada

ISBN: 978-0-470-24996-3

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Library of Congress Cataloging-in-Publication Data:

Spencer, Scott, 1975–ZBrush character creation : advanced digital sculpting / Scott Spencer. — 1st ed.

p. cm.ISBN 978-0-470-24996-3 (paper/dvd)1. Computer graphics. 2. ZBrush. I. Title. T385.S662 2008006.6'93—dc22

2008009613

TRADEMARKS: Wiley, the Wiley logo, and the Sybex logo are trademarks or registered trademarks of John Wiley& Sons, Inc. and/or its affiliates, in the United States and other countries, and may not be used without written per-mission. All other trademarks are the property of their respective owners. Wiley Publishing, Inc., is not associatedwith any product or vendor mentioned in this book.

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Foreword vii

Introduction xvii

Chapter 1 Sculpting, from Traditional to Digital 1Gesture, Form, and Proportion 1

Gesture 1

Form 4

Proportion 8

Best Practices for Digital Sculpting 9

ZBrush Interface General Overview 11

Using the ZBrush Tools 14

Creating a 2.5D Pixol Illustration 14

Sculpting a Lion’s Head 15

Adding Subtools 20

Refining Your Model 22

Finishing Your Model 27

Creating a 2.5D Pixol Illustration 27

Chapter 2 Sculpting in ZBrush 29An Approach to Sculpting 29

The Brush Manager 30

The Brush Modifiers 34

Saving Custom Brushes 37

The Clay Brushes 38

The Ecorche Approach to Sculpting 42

Sculpting the Skull 44

Roughing in the Shape of the Skull 47

Sculpting the Forms of the Facial Mass 48

Sculpting the Muscles 52

xi

Contents

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Adding the Eyes 57

Sculpting Skin and Fat on the Face 60

Adding the Neck 65

Sculpting the Neck Muscles 66

Sculpting Ears 70

Chapter 3 Designing a Character Bust 75ZBrush and Working with Imported Meshes 76

Optimizing Meshes for ZBrush 78

Increasing Polygon Counts with LocalSubdivision 81

Importing and Preparing a Mesh for Sculpting 84

Using Polygroups to Organize Your Mesh 84

Sculpting a Character Bust 91

Adding Geometry Using Mesh Insert 95

Adding Geometry to an Existing ZTool 101

Editing the Mesh in Maya 101

Working Back in ZBrush 105

Adding Details Back to the Imported Mesh 105

Refining the Character Bust 107

Chapter 4 ZBrush for Detailing 111Form and Details 111

Alphas 112

Alphas and Strokes 116

Alphas as Stencils 119

ZAppLink Stencils 122

Importing Images to Use as Alphas 123

Sculpting Alphas in ZBrush 125

Details and Layers 126

Detailing the Stingerhead with Alphas andStencils 128

xii ■ Contents

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Using Stencils for the Eye Wrinkles 130

Wrinkle Dynamics 131

The Bump Viewer Material 138

Another Take on Detailing 141

Chapter 5 Texture Painting 147UVs in ZBrush 147

The Texture Menus 150

UV Projection Texture Method 152

Image Planes in ZBrush 153

What Is PolyPainting? 154

Painting a Creature Skin 155

Color Theory 156

Making a Custom Spray Brush 158

Blocking in Temperature Zones of the Face 159

Mottling Pass 161

Base Color Washes 163

Temperature Adjustment 163

Projection Master for the Stinger 166

ZAppLink 169

Baking PolyPaint to UV Texture Space 171

ZAppLink Views 172

Chapter 6 ZSpheres 175Introducing ZSpheres 176

Drawing a Simple ZSphere Chain 177

Moving, Scaling, and Rotating ZSpheres andChains 180

Building a ZSphere Biped 182

Making Hands and Feet 186

Adaptive Skin Controls 187

Adding Edge Loops to the Head 189

■ Contents xiii

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Chapter 7 Transpose, Retopology, and MeshExtraction 193Moving and Posing Figures with Transpose 193

The Action Line 194

Topology Masking 197

Posing a Figure 198

Posable Symmetry 202

Transpose Master 202

Retopology 203

Preparing for Remeshing 204

Using the Topology Tools 205

Importing Topology 208

Project All and the ZProject Brush 210

Topology Tools Advanced Applications 211

Building Accessories with Topology Tools andMesh Extraction 213

Making a Shirt with Mesh Extraction 216

Adding a Rope with ZSphere Subtools 217

Chapter 8 ZBrush Movies and Photoshop Composites 223ZMovie 223

Recording the Screen 223

Turntable Animations 226

ZBrush to Photoshop 227

Setting Up the Canvas and Placing theCharacter 227

Creating Render Passes 227

Photoshop Compositing 231

Loading the Skin Image and Adding Shadows 231

Creating Selections with the Masking Layer 232

Creating the Dead Eye and Specular Shine 233

Punching Up the Details 234

Finishing Touches 235

An Alternative Approach to Compositing: TheMaking of “Fume” 238

xiv ■ Contents

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Chapter 9 Rendering ZBrush Displacements in Maya 247What’s a Difference Map? 247

Displacement Maps 248

Normal Maps 249

Exporting Your Model from ZBrush 249

UVs and Vertex Order 249

Generating Displacement Maps 253

Making 16-Bit Maps 253

Processing Displacement Maps for Use inmental ray 258

Setting Up Your Scene for Displacement 258

Setting Up Single 32-Bit DisplacementRenders in Maya 259

Setting Up Multimap 32-Bit DisplacementRenders in Maya 264

Setting Up 16-Bit Displacement Renders inMaya 266

Applying Bump Maps in Maya 267

Common Problems When Moving into Maya 269

Troubleshooting Renders and Artifacts 269

Chapter 10 ZMapper 273Normal Maps 273

ZMapper 275

Starting ZMapper and Generating a NormalMap 275

The ZMapper Interface 277

ZMapper Control Types 278

ZMapper Configuration Files 279

Using the Render Region Feature 279

Arbitrary Meshes 280

Cavity Maps 282

Using ZMapper to View UVs 284

Rendering Normal Maps in Maya 285

Maya Normal Map Setup 285

ZMapper for Blend Shapes 289

Raycasting Plateaus and Silhouette 291

■ Contents xv

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Chapter 11 ZScripts, Macros, and InterfaceCustomization 295Contrasting ZScripts and Macros 295

Recording Macros 297

ZScripting Fundamentals 299

Anatomy of ModelViews, a Pop-Up MenuZScript 301

Debugging a ZScript 305

Recommended ZScripting References 305

Hotkeys 305

Making Custom Hotkeys 306

Customizing the Interface 306

Setting a Save Hotkey 308

Setting the Interactive Light Hotkey andButton 309

Making a Custom User Menu 310

Changing Your Default Document 311

Changing the Startup Material 311

Appendix About the Companion DVD 315What You’ll Find on the DVD 315

Chapter Files 315

ZBrush Trial Software 315

System Requirements 316

Using the DVD 316

Troubleshooting 316

Customer Care 317

Index 318

xvi ■ Contents

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C H A P T E R

eigh

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ZBrush Movies andPhotoshop Composites

In this chapter, we’ll be looking at methods of getting your

work out of ZBrush. We begin by looking at the ZMovie function, which

allows you to create videos directly in ZBrush. These can be captured work

sessions or turntable animations of your work. In the second portion of

this chapter, we’ll look at exporting images from ZBrush and compositing

them in Photoshop to create dynamic “renders” of our characters.

ZMovieZBrush has the capability of recording your actions on screen as a movie. This recording canencompass just the document window or the entire screen, including menus. This is usefulfor training purposes or to showcase a technique. Recordings are stored in memory as asequence of screenshots that may be saved as a ZBrush native format called a ZMV file orexported as a QuickTime video with any number of compression formats.

Recording the ScreenTo record yourself in action, open the Movie menu from the top of the screen. Click the radialbutton to dock this menu to the side tray. Here you will find four recording options: Record,Turntable, Snapshot, and Time-Lapse. Record will record a sequence of frames based on themovie settings below. These can be recorded from the entire screen or just the document win-dow. Turntable will record just the document window while rotating the ZTool around auser-specified axis. Snapshot will record a single screen capture. Time-Lapse records a frame

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each time the mouse is released, thus creating a smaller file with fasterplayback. For this demo, we’ll record the entire screen in real time.

1. On the Movie menu, click the Window button (Figure 8.1).This will record the entire ZBrush window. In the next line,click the Medium button. This will record frames that are halfthe size of your current document. If you want a larger videooutput, increase your document size and select Large for 100%of the document size.

2. Click the Modifiers menu under Movie to unroll these options(Figure 8.2). The first slider is Frame Size, which specifies thescale factor for each frame. You set this by selecting Small,Medium, or Large in the previous step. By default, it is set to .5.If you set it to 1, the frames will capture at 100% of the docu-ment size. Leave this value at .5. Auto Zoom can remain at 0.Set Recording FPS to 20 and Playback FPS to 10. This slowsdown playback to a more natural speed. Leave the buttons SkipMenus, Antialiased Capture, and OnMouse on. If you wantmenus to be visible as you work (which may be desirable whenyou’re demonstrating a technique), turn off Skip Menus—thiswill record menus as well as sculpting actions.

3. Unroll the Overlay Image and Title Image menus by clicking ontheir names (Figure 8.3). The Overlay Image is a logo that willbe overlaid on the movie. The default is the ZBrush logo, butyou can load any image from the Texture palette by clicking theZLogo icon. To turn this off, set the Opacity slider to 0.

4. The Title Image menu defines the image and text that appears atthe start and end of the video. You can load an image from theTexture palette by clicking on the Z icon. Enter text by clickingthe Text1, Text2, or Text3 buttons. Clicking these buttonsopens a text entry box (Figure 8.4) that allows you to specifyfont size and enter text in the field. To disable this, set theFadeIn and FadeOut sliders to 0.

224 c h a p t e r 8 ■ ZBrush Movies and Photoshop Composites

Figure 8.1: Theseoptions allow you tospecify what portionof the screen isrecorded and the res-olution of the video.

Figure 8.2: TheModifiers menu

Figure 8.3: The Over-lay Image and TitleImage menus

5. When you’re ready to record, click the Record button at the top of the screen. ZBrushwill begin recording your actions. Perform a few strokes on the canvas; then when youare ready to end the recording, click the Pause button . This willpause recording and allow you to either save the movie as a ZMV file, export it as aQuickTime movie, or resume recording from the last frame by clicking Record again.

Figure 8.4: The movie text entry field

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Click SaveAs to save the video as a ZMV file. Depending on how long you recorded,this may be a large file. ZMV files are only viewable inside ZBrush. Load them byclicking the LoadMovie button under the Movie menu. The movie will play inside theZBrush interface (Figure 8.5).

6. Once the ZMV is saved, you’ll export a copyas a QuickTime file. To do so, click theExport button and specify a filename. ClickSaveAs, and the QuickTime Compression Settings dialog box will appear (Figure 8.6).Select H.264 as the compressor, deselectLimit Data Rate To, and set the Quality sliderto Best. Click OK, and your video will play asit exports. Do not press Esc or leave ZBrushduring this process as it will cancel theexport.

For the best-quality results, I recommendexporting MPEG-4 with no compression fromZBrush and applying H.264 compression inQuickTime Pro. Set the compression to Noneand the Frames Per Second to the recording FPS set in the Movie menu. This should bethe default value in the menu. Set Depth to Millions of Colors + and the Quality slider toBest. These settings will create a very large file, but you will have better results by com-pressing to H.264 in QuickTime Pro.

Figure 8.5: Movies play inside the ZBrush interface.

■ ZMovie 225

Figure 8.6: The QuickTime window for exporting the file

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Featured Artist: The Art of Steve JubinvilleThis image caught my attention when it first appeared on ZBrush Central. The creature is imagina-tive in its design, and the render and composite are striking.

Turntable AnimationsZBrush comes with the capability of rendering high-quality rotations of your models. Turn-tables are a staple of most modeling reels and an ideal way to show off a sculpture in theround. While it is possible to do this in a third-party renderer, it is often faster to generate arotation directly in ZBrush. You even have the option to add an overlay image of your name,logo or contact information. To create a rotation video, follow these steps:

1. Open the Movie menu from the top of the screen. Click the radial button to dock it onthe side tray.

2. Under the Modifiers menu, set Recording FPS to 20 and Playback FPS to 20. At thebottom of the Modifiers menu is a SpinFrames slider. This determines the number offrames in a single rotation. To set this, determine how long you want a single rotationto be; in this example, use a 5-second rotation. If we are playing back at 20 frames persecond, we need to multiply 20 by 5 to find the SpinFrames value. In this case, it is 100.Leave Spin Cycles set to 1 since a single rotation from ZBrush will loop when playedback. There is no need to render more than one seamless rotation. You can set thisvalue to –1 to reverse the direction of the rotation.

3. When you are ready to record, click the Turntable button at the top of the moviescreen. The ZTool will rotate around its Y-axis. If the model seems to rotate in thewrong direction, change the Axis selection at the bottom of the Modifiers menu. Therotation video can be saved as a ZMV file or exported following the same steps asdetailed in the previous section.

Keep in mind that only one movie can be stored in memory at a time. If a movie is storedor loaded when you record, the new frames will be appended to the end of the last movie.To clear memory, click the Delete button under Movie to start a fresh recording.


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ZBrush to PhotoshopWhile ZBrush has a powerful renderer in its own right, when you combine it with Pho-toshop you can get high-quality images, especially when combining different materialsas render passes and compositing them in Photoshop. The following technique is basedon a workflow shown to me by Scott Patton of Stan Winston Studio.

This technique is based on exporting a single render from ZBrush with variousmaterial types and then compositing them together in Photoshop using blending modesto create a deep, rich image. For this demonstration, let’s use the Fat Beast characterfrom Chapter 3. I have PolyPainted the face, eyes, and teeth and applied a MatCapskin shader to the skin and the basic material to the eyes and teeth.

Setting Up the Canvas and Placing the CharacterBecause this is a portrait image, we’ll reconfigure the canvas from landscape to portrait:

1. Open the Main document window and dock it to the side tray by clicking theradial button. Turn off the Pro button, which constrains proportions (Figure 8.7).Swap the Width and Height values so they read 720 wide by 960 high. Now clickthe Double button to double this document size to 1440 × 1920. ZBrush willnotify you this is not an undoable operation. Click Yes.

2. If there were any active ZTools when you resized the canvas, they are nowdropped to Pixols. Clear the canvas by pressing Ctrl+N. Let’s now change thebackground from the default gradient to pure black. From the color picker, selectblack, and under Document, click the Back button. This assigns the currentlyselected color to the background. Turn Range and Center down to 0 (Figure 8.8).

3. Switch your active color swatch back to white anddraw the character ZTool on the canvas. Turn on per-spective with the controls found under the Draw (Fig-ure 8.9). Click the Persp button to turn on perspective(or press the P hotkey) and adjust the focal lengthuntil the character looks good. Lower focal length set-tings will give more perspective distortion, resulting ina fisheye effect. Note that these values are contingenton the scale of the particular model and will not beconsistent between ZTools (Figure 8.10).

Creating Render PassesIn this section we’ll create several versions of our characterwith different material settings. These various renders willbe loaded into Photoshop and composited together:

1. Since it is important to maintain the exact same posi-tioning between each render pass, now is a good timeto store the character’s position on the canvas. Youcould drop it to the canvas and create Pixols, but thiswould prevent you from making separate subtoolpasses unless you dropped each to a different layer.Storing the character’s position is the easiest way to

■ ZBrush to Photoshop 227

Figure 8.7: Turn offthe Pro button andreconfigure the canvasto a portrait layout.

Figure 8.8: Settingthe document back-ground to pure black

Figure 8.9: The per-spective controlsunder the Draw menu

Figure 8.10: The character placed on the canvasin perspective

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ensure you can return to the same position if you accidentally move the character.Make sure ZAppLink is installed, and under the Document menu, open ZAppLinkProperties (Figure 8.11). Click the Cust1 button to store the character position in theCustom slot. Save your views by clicking the Save Views button. For more informationon using ZAppLink, see Chapter 5.

2. The first render pass we’ll export is the standard skin shader. Click the AAHalf buttonon the right side of the screen to antialias the document. Open the Main Docu-ment window and click Export. Save this render pass as SSS in PSD (Photoshop) for-mat. Turn off Colorize under Tool → Texture, and save a version of the head with justthe skin shading on. This will be used as a specular pass later in Photoshop. Save thisfile as skinspec.psd.

3. The next pass will involve flat color—just the color as painted on the surface with noshading information. From the Material palette, select Flat Color .

If you have filled an object with a material, the only way to change materials is to fill it withanother. The default behavior of the ZTool displaying the currently selected material isoverwritten. To revert back to this behavior, fill the object with the Flat Color material.From then on, whatever material is selected will be the one displaying on the character.

4. To fill the head with this material, select the Standard brush and turn on M at the topof the screen. Make sure RGB is off (Figure 8.12). Then open the main Color menuand click the FillObject button (Figure 8.13). Repeat this fill for each subtool andexport the document as flatcolor.psd (Figure 8.14).

Figure 8.12: To fill an object with a material, make sureM is the only modifier on at the top of the screen.


Figure 8.11: UseZAppLink Views toretain the character’sposition on the canvas.

Figure 8.13: Fillwith a materialby clicking theFillObject button.

Figure 8.14: The char-acter file with the FlatColor material. Allshading informationis removed and onlythe painted colorremains.

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5. The next render is a shadow pass. This will assist us infaking an Ambient Occlusion style render. Turn off Col-orize under Tool → Texture and fill the object with theFast Shader. Open the Material modifiers and turnAmbient and Diffuse up to their maximum settings(Figure 8.15).

6. We also want to create a cavity map to allow us to iso-late the sculpted details in Photoshop. To generate acavity map, step down to the lowest subdivision level.Choose Tool → Texture and turn on Enable UV; thenclick the AUVTiles button to generate UV coordinates(Figure 8.16).

7. Step back up to the second-to-highest subdivision level.You want to capture just the fine details in the cavitymap, so you won’t generate it from the lowest level.Open ZMapper by clicking the ZMapper button on theupper left of the screen. Open the Normal & Cavity Maptab at the bottom of the screen and raise the Cavity Inten-sity slider to about halfway. You may also decide to raiseCavity Blur (Figure 8.17).

8. Click Create CavityMap. When the map completes, pressEsc to exit ZMapper and export a document image of thecavity map on the character (Figure 8.18). This imagewill work best if you change your material to Flat Color.For a more in-depth look at ZMapper, see Chapter 10.

9. The final passes are utility renders for depth and masking. The first pass will be adepth grab of the canvas. Recall from Chapter 4 that you can grab the depth infor-mation of the ZBrush canvas as an alpha. We’ll do this now and use the resultingimage as a mask in Photoshop for various effects, including simulating depth offield. Go to the main Alpha menu and click the GrabDoc button. This will grab adepth sample of the canvas with white values closest to the viewer and black far-thest away.

A final version of this appears in Figure 8.19. This is sometimes called a ZDepthimage. Be aware that the image will use the actual document resolution although you aredisplaying the document in antialiased half mode. When you use this image in Photo-shop, you’ll have to manually resize it by half.

Figure 8.17: The cavity map settings

■ ZBrush to Photoshop 229

Figure 8.15: Raise Ambient and Diffuse to themaximum on the Fast Shader for the shadow pass.

Figure 8.16: EnableUVs, then assignAUV tiles.

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Figure 8.19: The resulting ZDepth imageFigure 8.18: The cavity map on the characterwill serve as a detail mask.

The remaining images are to be used for knockout masks if you decide to change thebackground, or if you decide to isolate the eyes or mouth subtools from the head. To createthese masks, turn on MRGB at the top of thescreen. This will fill the subtool with color aswell as material. Select the color white and filleach subtool with white and Flat Color. Fig-ure 8.20 illustrates this effect. Be aware thatdoing this will delete any PolyPainting youhave applied to the surface!

Here’s an alternative approach: if you dropyour character to the canvas by pressing the Tkey to leave Edit mode and then invoke ZApp-Link by pressing Ctrl+Shift+S, ZBrush will senda document to Photoshop that contains ashading layer, a Flat Color layer, and a mask.

Click the SysPalette button under themain Color menu and select green RGB value0, 255, 0. Under the Document menu clickthe Back button to fill the background withchroma green.

Figure 8.20: The character filled with white andFlat Color

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Now select each subtool with the exception of thehead (which will remain white). With green selected,you’ll fill the eyes and mouth with the color green andthe Flat Color material. This will make isolating thesesubtools much easier in Photoshop (Figure 8.21). Savethis document as knockout.psd.

At this stage, you can save a ZBrush document ofthis character for future use, in case you decide to makechanges at some point using the ZBrush 2.5D tools.These tools are covered in depth on the Chapter 1 bonusmaterials on the DVD. To save a ZBrush document, goto the main Document menu and click SaveAs. Saveyour document as a ZBR file. This is only a Pixol imageand not a 3D model. type=”cd”

This concludes the process of creating our renderpasses. We are now ready to go to Photoshop and put

everything together.

Photoshop CompositingIn the following sections, we’ll take the render passes from ZBrush and composite them inseparate layers. Using various blending modes, we’ll create a rich and dynamic image muchfaster than we could by rendering in third-party software.

Loading the Skin Image and Adding ShadowsI have included the ZTool, skin material, and render passes on the DVD if you would like tofollow along with this exercise. I encourage you to experiment with different settings and seewhat kind of results they yield.type=”cd”

1. To begin, load the sss.psd image into Photoshop. This is the image of the characterwith the Skin shader applied to the head and Basic material applied to the teeth andeyes. This will serve as our base (Figure 8.22).

Figure 8.22: Thesss.psd file loadedinto Photoshop

■ Photoshop Compositing 231

Figure 8.21: A chroma green maskcreated for the eyes, mouth, andbackground

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2. Now load the ambient.psd file. This is the black-and-white image withonly shadow information. Select the entire image and copy it.

3. Switch back to sss.psd and paste the image from ambient.psd intoSSS.psd. Ambient.psd will now be a new layer in sss.psd; name thislayer ambient and set the blending mode to Multiply. Lower theopacity to 44%. Apply a slight blur to this shadow layer by selectingFilter → Blur → Gaussian Blur. From the pop-up menu set the Radiusto 0.7 (Figure 8.23). This layer will accentuate the shadows.

4. Open flatcolor.psd. Select the entire image, then copy and paste itinto the sss.psd file. It will come in as a new layer (Figure 8.24). Set the layer blending mode for the flat color layer to Linear Burn and lower the Opacity setting to 60%.

5. The flat color layer has punched up the saturation and depth of theskin, but now we need something to mute this color a bit to make itfeel more like translucent skin. Select the background layer (the origi-nal sss.psd file). Press Ctrl+J to copy the background as a new layer.Click and drag this layer to the top of the stack, and dial the Opacitysetting down to 57%. The document now looks like Figure 8.25.


Figure 8.23: Set the Gaussianblur of this layer to 0.7 pixels.

Figure 8.25: Copy the background as a new layerand set Opacity to 57%. This will help mute thecolors introduced by the flat color layer.

Figure 8.24: Setting the flat color layer to Linear Burn and dialingdown Opacity to 60%

Creating Selections with the Masking LayerWe’ll now load the masking image we made earlier:

1. Load knockouts.psd. Copy and paste it into the working document. We’ll use thisdocument to create some saved selections. Using the Magic Wand tool , select thegreen swatch for the mouth (Figure 8.26).

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2. With the marching ants active around this selection, choose Select → Save Selectionand name this selection Mouth. Repeat this process, saving a selection for each eye andthe background.

3. Now when you choose Select → Load Selection, you will find each of these saved selec-tions ready for you (Figure 8.27). You can now delete the knockout.psd layer as wewon’t need it anymore.

Creating the Dead Eye and Specular Shine

We’ll use the saved selection for the left eye to create a dead-eye effect:1. Choose Select → Load Selection, select LeftEye from the dropdown menu,

and click OK.2. The left eye will now be surrounded by the Photoshop marching ants selec-

tion marquee. Make sure the background layer is selected and press Ctrl+J tocopy the eye as a new layer. Name this new layer eye and move it to the topof the layer stack (Figure 8.28).

3. Select the eye layer and choose Filters → Artistic → Plastic Wrap. Adjust thesliders until you get a suitable dead-eye effect. Click OK when complete.

4. Now open the skinspec.psd file. This is the plain Skin shader with no Poly-Painting that we saved earlier. Copy and paste it into the document. Set theblending mode to Pin Light and the Opacity setting to 54%. It is also a goodidea to add some noise to this layer by choosing Filter → Noise → Add Noiseand setting Radius to 2.45 and Distribution to Uniform. This adds a shine tothe surface of the skin (Figure 8.29).

Figure 8.27: Loading saved selectionsFigure 8.26: Selecting the mask for themouth


Figure 8.28: Copy the lefteye as a new layer andmove it to the top of thestack.

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Punching Up the DetailsAt this stage, we want to accentuate the skin details. To do this, we’ll use the cavity map passwe rendered earlier.

Open the cavity.psd file and paste it into the active document. Set the blending modeto Multiply and Opacity to 37%. It is also a good idea to add a touch of Gaussian Blur tothis layer. Keep the radius near 0.5. At this point the composite character looks like Fig-ure 8.30.

Figure 8.30: The progression of the character

Figure 8.29: Adding aspecular shine to the skin


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Now all that remains is a bit of lighting, environment, and postprocessing.We’ll create a new layer that consists of all the active layers collapsed into one. This will allow us to keep our previous layers and work on a new collapsed layer.Press Ctrl+Alt+Shift+E to create this new collapsed layer, and name it collapsed(Figure 8.31).

Finishing TouchesLet’s add a cloud layer for the background as well as a depth-of-field effect to add to the realism of the image.

1. Load the background selection by choosing Select → Load Selection andselecting Background. Create a new layer and choose Filter → Render →Clouds. Turn the opacity down to 37%. Because the background selection was loaded, the figure will be matted out of the cloud background (Figure 8.32).

2. Create a new layer and name it foreground clouds. Clear any previous selections that may be active. Create a new cloud effect by clicking Filter →Render → Clouds.

3. Turn the opacity of this layer down to 25%. We’ll want to selectively erasesome of the clouds covering the face so they serve as more of a framing ele-ment than obscuring the figure.

In Photoshop, it is always best to use masks to removepart of an image instead of erasing because the Eraser tooldestroys pixels while a mask only hides then from view. Youcan always alter the mask if you decide you need more cloudsin an area.

4. To create a mask, make sure the foreground cloudslayer is selected and choose Layer → Layer Mask →Reveal All. This will create a layer mask attached to the foreground clouds layer.

5. The mask will appear as a white box next to the fore-ground clouds layer. In Photoshop, white appears to betransparent and black is opaque in a mask. Select thePaintbrush tool and the color black. Make sure themask is selected by clicking it once in the Layer menu.A small rectangle appears around the layer mask whenit is active. Start painting on the image, and you willnotice it makes the cloud layer disappear while themask begins to show your black strokes. To restore thecloud area, just switch to white. If you want to viewjust your mask, Alt-click the mask icon in the Layermenu and your mask will become visible (Figure 8.33);to restore the regular document view, Alt-click the layermask icon again.

6. Paint out the clouds around the face and eyes as this is the center of interest. You canlet them remain around the shoulders and ears (Figure 8.34).


Figure 8.31: Collapsing thelayers into a new layer

Figure 8.32: Creating a cloud background

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Figure 8.34: Foreground cloudsFigure 8.33: Alt-click the mask icon in the Layer menu to view your mask.

Depth of FieldNow we’ll add a depth-of-field effect to the imageusing the depth.psd image that we exported fromZBrush:

1. We need to resize the current file to the otherdocument’s resolution. Choose Image →Image Size and set the resolution to 720×960(Figure 8.35). Remember that we wereexporting documents at half size, but theAlpha menu exported this depth grab at fullresolution.

2. Invert the depth grab by pressing Ctrl+I, thenselect all and copy the image to the clipboard.Select the collapsed layer and create a layermask by clicking Layer → Layer Mask →Reveal All. Select the layer mask by Alt-clicking the layer mask icon and paste thedepth grab into the layer mask (Figure 8.36).

Figure 8.36: The depth grab inverted andpasted into the layer mask

Figure 8.35: Resize the depth grab tohalf its original resolution.

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3. We’ll use this depth grab to calculate depth of field. Choose Filter →Blur → Lens Blur to open the setting box shown in Figure 8.37. Setthe source to Layer Mask, Focal Distance to 15, and Noise to 4.Noise will help counteract the perfect look of a 3D render and addsome imperfections to the scene.

4. Click OK and the filter will apply to the image. Now click the layermask in the Layer menu and click the trashcan button to discardthe mask since you no longer need it. Once the mask is deleted, thedepth-of-field effect will be visible in the document.

Lighting Effects

The final touch is a lighting effect to draw attention to the dead eye, thefocal point of the image.

1. With the collapsed layer selected, choose Filter → Render → LightingEffects (Figure 8.38).

2. Select Spot as the light type and place it with the Circular Light mod-ifier. When you are satisfied with the light effect, click OK. Your finalimage should appear as Figure 8.39.

You can make further changes by handpainting details in Photoshop.Use the Dodge and Burn tools to accentuate shadows and highlights. Youcan even use the Liquefy tool to adjust the overall shape of the head. Thepossibilities are endless, and with this technique you can quickly createpowerful renders with just ZBrush and Photoshop.


Figure 8.37: The lens blurfilter settings

Figure 8.39: The final Photoshop composite image

Figure 8.38: Using the Lighting Effects plug-in

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An Alternative Approach to Compositing:The Making of “Fume”This section was contributed by featured artist Alex Alvarez.

Although Fume could have been created entirely in 3D, it would have taken muchlonger to produce. The workflow I’ll describe keeps things quick and fun.

Between work and family, it can be hard to make the time to focus on a purely per-sonal project, but I eventually decided to make some sort of humanoid portrait. I chose tobox model a simple form in Maya (Figure 8.40). The problem with an older base mesh isthat it will inevitably guide what I do, and for this project I wanted to be free.

I exported the simple box model to ZBrush, subdivided it a few times, and used theClayTubes brush to block out the forms. I then retopologized the sculpt (Figure 8.41).Although I could have worked more on the sculpt before retopologizing, I wanted to be able to jump to Maya with a new generic humanoid base mesh. This would allow me to add thickness to the eyelids, a mouth interior, and position the necessary subtools (eyes,teeth, gums). In addition, the mesh would be generic enough at this point that I could use it as a start point for future characters in this style.

As should be the rule with any organized topology, I created the new base mesh inZBrush following the anatomical forms defined in my initial rough sculpt. This can betedious in Maya, but in ZBrush I actually enjoy it. Retopologizing a mesh is like solving apuzzle. It is, however, still time-consuming; this mesh probably took a couple hours. Oncethe topology was complete, I made the adaptive skin and exported it to Maya.

Figure 8.40: Simple Maya box model


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In Maya I edited the base mesh, first by adding thickness to the eyelids and positioningthe eyeballs. I then worked on the inside of the mouth, extruding edges inward to create amouth cavity that extends down the throat a little. Even though the character in the finalimage has his mouth closed, at this point I didn’t know where things were going and wantedto have that as an option. For the gums and teeth, I was tempted to create new ones (hewould perhaps have a nonhuman number of teeth), but I got lazy and just grabbed some-thing I already had and positioned/deformedthe teeth to match the proportions of hismouth interior.

The final step before heading back toZBrush was to lay out the UVs for the headusing headus UVLayout (Figure 8.42). I choseto separate the head into three shells, for thehead, neck, and mouth interior. The quality ofthe flattening in UVLayout is directly relatedto where you choose to cut things, and thisworked pretty well. I then organized the UVshells in Maya for all of the objects (head,teeth, etc.), making sure that each mesh didnot contain any overlapping UVs. I thenexported each element as an OBJ.

Back in ZBrush, I imported the UV’dmeshes and organized them into a singleZTool with six subtools: head, eyes, upperteeth, upper gums, lower teeth, lower gums(Figure 8.43). I next began the fun process

Figure 8.41: Retopologizing in ZBrush

■ An Alternative Approach to Compositing: The Making of “Fume” 239

Figure 8.42: Flattening UVs in headus UVLayout

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of sculpting and designing. The primary tools I used were ClayTubes, Rake, Standard, andMove. This was a freeform sculpting session where I just allowed myself to have fun and seewhere I ended up (Figure 8.44). I did jump to Maya a couple times with a high-res export of the head model just to test lighting and composition, in order to help determine where Ishould focus my time in ZBrush; there is little point in sculpting on the back of the head fora front-view portrait. For fun, however, I did end up spending some time on all sides of thesculpt, which also helped me “find” the character

.

Figure 8.44: Detailed head sculpt complete at 8 million polys

Figure 8.43: ZTool with subtools ready for sculpting


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Once I decided that the sculptwas pretty much done in ZBrush, Iexported the subtools that had beenmodified back to Maya, with corre-sponding normal maps. For a stillimage, I do not bother with displace-ment maps, as I don’t mind having aheavy mesh in Maya. The sDiv levelthat I send to Maya as an OBJ isdetermined by choosing the level that defines the silhouette of the char-acter accurately. For Fume, the sDivlevel ended up around 250,000 polys.

Back in Maya, I began by settingup Blinn shaders for each object andassigning the normal maps. I couldshare a single shader for both sets ofteeth by moving the UV shells for thebottom teeth one unit to the right in Uspace (Figure 8.45). The top teeth UVshells were in 0–1 and the bottom werein 1–2. On the shader, the top teeth normal map wasmapped to the bump channel, and the bottom teethmap was mapped to the Default Color attribute on thetop teeth map. Then I unchecked Wrap U + V on the2D placement nodes for both maps. Finally, I set Trans-late U on the bottom teeth 2D placement node to 1.

I had a basic Blinn shader on everything, and Ibegan to do some composition and lighting experi-ments with mental ray. I started with some HDRi tests,trying out different HDR lightmaps (Figure 8.46).While these tend to look interesting, I never rely solelyon HDR simply because I prefer to design my ownlighting. For my final light rig, I created four direc-tional lights and one spotlight. I liked the HDR teststhat had strong rim lighting, so three of my directionallights were back lights. My spotlight was illuminatingjust the face from a high frontal 3⁄4 with a small coneangle and high penumbra (edge softness). All of thelights featured raytraced shadows. During the lightingprocess, I also chose to create a quick skeleton and lat-tice rig for posing (Figure 8.47). I simply selected theobjects, put them in a lattice, and skinned the lattice toa skeleton. This is a very quick solution for posing thattakes only a few minutes.


Figure 8.45: Stacking UVs for shared Maya shader

Figure 8.46: Lighting study using HDRi

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As I approached a light rig that I considered final, I decided to incorporate a cavitymap into my Blinn shader for the head. I jumped back to ZBrush and, using the Cavity Maskoption, filled the object with black. I then transferred the PolyPainted color to a texture thatcould be exported. In Maya, I assigned the cavity map to the Blinn shader color, and thenadjusted the color balance to reduce the contrast in the image and make the effect subtler. Soin the end, my final lighting/shader setup for Fume in Maya was rather simple: Blinn shaders,normal maps, one color map, and five lights.

Once I got to a point that I liked the lighting, composition, and pose of the character in Maya, I rendered a high-res and smoothly antialiased image with an alpha channel that Icould bring into Photoshop.

In Photoshop, I experimented with a lot of different directions (Figure 8.48). I importedtextures and tried out blending modes. I created gradient overlays to adjust lighting. I paintedon layers with different colors and blending modes to colorize the render. Basically I was tex-turing the image in Photoshop instead of in 3D. This is a far quicker process and allows formany iterations to be produced in a short time. If you want to texture your character in 3D,you can use these 2D experiments as a guide.

After perhaps an hour of experiment, the idea for smoke and a cigarette emerged. Ipainted some smoke coming out of the top of his head and liked the idea. But to develop thatidea, I need to either paint the smoke by hand, create it in 3D using dynamics, or use photos.I chose photography, the quickest option that would produce good results.

Figure 8.47: Lattice quick rig for posing


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Back in Photoshop, I experimented with some of the photos, compositing them usingthe Screen blending mode. Because they were shot with a black background, simply adjust-ing Levels gave me a perfect comp. I integrated seven smoke images by using the Liquify andWarp tools (Figure 8.49).

Figure 8.49: Photoshop look development

Figure 8.48: Color and texture study in Photoshop


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With the smoke mostly worked out, it was time to create the cigarette. In Maya Icreated a cube, extruded a face a few times to make it cylindrical, and positioned it in themouth where I wanted it in relation to the teeth. I knew that I wanted my character to be biting the cigarette. I then flattened the UVs in Maya and sent the OBJ to ZBrush for detail-ing. I smoothed it a few times and then primarily used the Standard brush (drag rectangle)with various standard ZBrush alphas.

As I imported the cigarette from Maya, it was intersecting the teeth, so I added depres-sions to make it look like the teeth were clamping down on it (Figure 8.50). I also used theMove tool to give the cigarette a bit of sag. Once the image was complete in ZBrush, I sentan OBJ and normal map to Maya for final rendering. In Maya, I created a Blinn shader withno reflectivity and a broad and minimal specularity. I did not create any 3D textures for thecigarette; as with the head, I would do that later in 2D. I chose to render the cigarette sepa-rately from the head, so I created two new 4096×4096 renders. One render was of the headwith the cast shadow of the cigarette but no cigarette (I achieved this by turning off PrimaryVisibility for the cigarette geometry). For the render of the cigarette, I set all of the shaders,except for the cigarette shader, to Black Hole matte opacity. This caused all objects to renderas black in both the RGB and the alpha. I then took these two renders and integrated theminto my multilayered Photoshop comp.

Figure 8.50: Detailing the cigarette in ZBrush


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I created a couple overlay layers above the image to colorize the cigarette, adding abrown filter, the burned tip, and a brand label (Zufuhr brand smokes) using the Text tooland a little warping, and finally added more smoke coming off the cigarette.

With all of the elements in place, I felt my Photoshop composite needed some finalcolor correction and contrast adjustments to make it appear stronger and less washed out(Figure 8.51). The main changes I made at this stage were creating a Levels adjustment layerfor the entire composite and increasing the saturation of the background.

Figure 8.51: The final comp of Fume had 25 layers.


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318

IndexNote to the reader: Throughout this index boldfaced page numbers indicate primary discussionsof a topic. Italicized page numbers indicate illustrations.

Numbers

2D plane, unwrapping 3Dobjects into, 147

2.5D canvas, for sculpting texture, 125

2.5D mode, strokes limited to, 118

2.5D painting brushes, 312.5D pixol illustration,

14–15, 27creating, 27

3D objects, unwrapping into2D plane, 147

3D sculpting brushes, 313ds Max, 1416-bit displacement map,

253–255renders in Maya, 266–267

32-bit displacement map, 253,255–258

multimap renders in Maya,264–266

real-world scale baked into, 256

setting up render in Maya,259–263

A

accessories, topology tools forbuilding, 213–218

AccuCurve brush option, 34action line

from figure to background, 196

for rotating arm, 199for Transpose tools, 194,

194–196active brush icon, 31Adaptive mode, vs. DPSubPix

mode, 254

adaptive skin, 176, 177controls, 187–188creating, 207preview, 178, 179

AdjU (ZBrush Tool Texturemenu), 152

AdjV (ZBrush Tool Texturemenu), 152

airbrush techniques, 157creating brush, 158

AlignToPath brush option, 34Alpha 59, 119Alpha Adjust option in Alpha

menu, 115Alpha Depth Factor option in

Alpha menu, 115Alpha Displacement Exporter

menu, 255Alpha Gain, 266

impact of errors, 269Alpha menu (ZBrush), 12,

114, 114, 115→ Make Modified

Alpha, 124→ Make St, 119

Alpha Offset, 266–267impact of errors, 269

Alpha palette, 113, 117displacement map inclusion

in, 254importing displacement

map, 106Alpha Repeat slider, 120alpha softness, 13alphas, 34, 35, 112–126

baking changes to, 124detailing with, 128–131dragging, 140exporting from

ZBrush, 257importing images to use as,

123–124scaling, 120

sculpting, 125–126as stencils, 119–121, 120and strokes, 116, 116–119

AlphaTile brush option, 34Alt key, for alternate brush

mode, 13AltBrush brush option, 34Alvarez, Alex, 238Ambient modifier, 206Ambient Occlusion style

render, 283faking, 229

anatomical terminology, 43angle of the mandible, 46antihelix, 70, 71, 71, 72appending frames, to movie in

memory, 226ApplyAdj (ZBrush Tool

Texture menu), 152arbitrary meshes, 280–281, 281artifacts

plateau, 291troubleshooting, 269–270

artistsDamien Canderle, 271Cesar Dacol, 40–42Magdalena Dadela, 154Ian Joyner, 219–221Steve Jubinville, 226Fabian Loing, 82–83Joel Mongeon, 288Zack Petroc, 9–10

Attribute Editor, 259Blinn shading node, 286, 286File Node options, 262, 287

auditory meatus (ear hole), 43,44, 46, 49, 70

automatic mapping, benefitsand drawbacks, 149

Automatic Mapping Optionsdialog (Maya), 103

Automatic UV (AUV) tiles,148. See also AUV tiles

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AutoSave plug-in, 295AutoSmooth brush option, 34AUV tiles, 101, 148, 149, 150, 150

for mapping, 249AUVRatio (ZBrush Tool Texture

menu), 152AUVTiles (ZBrush Tool Texture

menu), 152

B

BackFaceMask brush option, 34, 35background

changing default color, 311color picker for, 227

Baker, Andrew, 155Baker, Rick, 123baking changes to alphas, 124baking PolyPainting into UV texture,

154, 171–172base meshes, 176

in ZBrush, 238biped

adaptive skin, controls, 187–188from ZSpheres, 182–191

arms, 183, 185edge loops for head, 189,

189–191elbows and knees, 184, 184hands and feet, 186–187,

187head and neck, 183, 183initial chain, 182legs, 183, 185, 185–186shoulder and hip, 183

black, in mask, 235blend shapes, ZMapper for,

289–291, 290Blinn shaders, 241, 261, 284

creating, 286Blob brush, 32block models, benefits, 77blood vessels, impression of, 164Blur brush, 136Blur option in Alpha menu, 115blurred edge for mask, 197, 198BMP files, 123bone, posing, 200, 200border of alpha stroke, 125bracket pairs, in ZScript, 299breaking symmetry, 94Bridgman, George, 4

Brush Manager, 30–43, 31Brush menu flyout, 31Brush menu (ZBrush), 12, 16

options for modifying behavior,34–36

Brush palette, 31brushes. See also specific brushes

adding icons to custom menus, 310

alphas for shapes, 113, 114Alt key for alternate mode, 13applying modifiers to, 31controls, 11falloff settings, 13macro to return to default

setting, 298modes, 13saving custom, 37, 37–38for sculpting, 32–33size of, 13specialty, 33

BrushMod slider, 22, 23, 31, 31, 32, 34

buccinator muscle, 52, 55, 55bump channel, normal map loaded

into, 286bump, grayscale color value as, 139bump maps

applying to Maya, 267–268, 268creating, 249normal maps from, 274

Bump Viewer material, 138–140, 140bump2D node, 287

creating, 268buttons, in ZScript, 299

C

Canderle, Damien, 271canthus of eye, 63, 64canvas

converting current view to Pixols, 152

“depth enabled”, 15setting up, 227

Catmull-Clark subdivision, 76cavity map, 230, 282–284, 283

creating, 229impact of, 284settings, 229for skin details, 234

Cavity Mask brush option, 34, 36, 37cavity masking, 164Cc option in Alpha menu, 115CCMesh, 260center of balance, 198, 198center of gravity, 199center of influence, red line for, 23centering action line endpoint in joint,

194, 194character bust, 91–94

refining, 107–109, 108, 109character placement on canvas, 227child sphere, 177

creating same size as parent, 178chin, 59, 60chroma green mask, 231cigarette, creating, 244, 244Clay brush, 30, 32, 38–39, 40, 69clay sculpture, examples of tradi-

tional, 2Claytubes brush, 60, 61

for smoothing effect, 97Cleanup Options dialog box,

269, 269Clone (ZBrush Texture menu), 151cloning subtools, 96cloth, modeling, 219–221collapsed layer, creating, 235color

neutralizing, 157, 166, 166switching between, 168

color coding, in ZScript window, 305color maps, 147Color Mask brush option, 34Color menu (ZBrush), 12, 159

→ Fill Object, 60Color option, for Projection Master

script, 152–153, 153color picker, 11, 139

for background, 227color schemes, 307, 308Color Spray stroke, 118color theory, 155, 156–157color washes, 163color wheel, 156Colorize (ZBrush Tool Texture

menu), 151and system resources, 159

Col>Txr (ZBrush Tool Texturemenu), 151

comments, in ZScript, 299CompactMem slider, 76

■ Index 319


contouring, 164contrapposto, 199Contrast option in Alpha menu, 115copy and mirror, 57Create All option, for Multi Displace-

ment 3, 257Create Missing option, for Multi Dis-

placement 3, 257Create Render Node window,

261, 287creature skin, painting, 155–169Crop and Fill option in Alpha

menu, 115CropandFill (ZBrush Texture

menu), 151crosshatching strokes, 50crosshatching wrinkles, 132, 132Ctrl key, for masking, 25“The current mesh has a different

polygon count....” error mes-sage, 105

custom brushes, spray brush, 158, 158

custom hotkeys, 306custom user menu, making, 310, 311Cyberscanner 3D scan, 211, 212

D

Dacol, Cesar, on rakes, 40–42Dadela, Magdalena, 154David (Michelangelo), 4–5Dbls option in Alpha menu, 115dead eye effect, 233debugging ZScripts, 305Deco brush, 135, 166, 166default document, changing, 311Deformation option, for Projection

Master script, 153deleting ZSpheres, 176, 180demo head ZTool, 126, 126demosolider.ztl file, 199Density slider, for adaptive skin,

187, 207“depth enabled” canvas, 15depth of field, 236–237details

intensity adjustment, 137intensity of layer, 127and layers, 126–140variation in, 141–144, 141–144

difference map, 247–249digastric muscles, 59, 60digital sculpting, best practices, 9Directional brush, 140directionality, rakes for, 42DisableUV (ZBrush Tool Texture

menu), 151Displace brush, 32Displacement Exporter interface,

254–255, 255, 256, 257displacement map, 105–106, 241,

248–249as bump map, 249detail transfer, 101generating, 253–258vs. normal map, 248, 273, 274processing for use in mental

ray, 258scene setup for, 258–267

displacement shadercreating, 261–262network, 262

Display options in ZMapper menu, 278

Divide button, 76dividers, in custom menu, 310, 310Document menu (ZBrush), 12

→ Constrain Proportions, 125→ ZAppLink Properties, 172

document navigation menu, 11document settings, 15

changing default, 311document window in ZBrush, 11,

11, 15Dots stroke, 118double-sided option, for Projection

Master script, 153double-sided rendering, 24, 25DPSubPix mode

vs. Adaptive mode, 254for Multi Displacement 3, 257

DragDot stroke, 118DragRect stroke, 117–118, 140DragRect texture stamp process, 116drapery

modeling, 219–221topology for, 215–216, 216

Draw menu (ZBrush), 12Draw mode, 193Draw Size, 13“dropping” model to canvas, 152

DVD in book2.5D pixol illustration in PDF

file, 27AutoSave plug-in, 295body.obj file, 284brushes, 31custom brushes, softSmooth, 37generichead.obj, 84humanhead.ztl file, 280

lower-polygon version, 281ImagePlane3 ZScript, 153ModelViews script, 301–305pores.tif file, 133skinswatch.psd file, 124tutorial on texturing in ZBrush, 172video capture of tutorial, 15video demonstrating texturing

process, 153video on painting process, 159video on ZSphere biped, 182warrior.ztl tool, 213, 213

E

ear hole (auditory meatus), 43, 44,46, 49, 70

ears, 70–73adjusting shape, 91, 91labeled parts, 70masking, 71placement, 70polygroups, 87–88, 87–89sculpting, 93

edge artifacts, 136edge flow, planning, 205edge loops, 204

adding to head, 189, 189–191edge normals, softening, 286Edit Curve brush option, 34, 35Edit menu (ZBrush), 12Edit mode, 15

button for, 16Elastic brush, 32

to add fat, 93Gravity modifier, 94

Elevation mode, alphas in, 121“elite soldier”, 82–83EnableUV (ZBrush Tool Texture

menu), 151endpoint of action line, centering in

joint, 194, 194

320 ■ Index


envelope mesh, 208, 208error messages, “The current mesh

has a different polygoncount....”, 105

errors, in mesh, 211, 211Export Options, for Multi

Displacement 3, 257Export Verbosity to Progress

Messages, 263exporting

alphas from ZBrush, 257model from ZBrush, 249–252OBJ file

from Maya, 104from ZBrush, 101

skin shader, 228ZMV file as QuickTime video, 225

expressions, rescaling with, 262–263extraordinary vertices, 80eye sockets, 48, 48

masking recesses, 56, 56eyeball, sphere for, 100eyelids, 58, 58eyes

adding, 57, 57–59canthus of, 63lower lid, 63using mask, 25, 25–26, 26wrinkles

masking, 63stencils for, 130–131, 131

F

face. See also skulltemperature zones, 157

blocking, 159–160,159–161

cool regions, 160faceted effect, 17facial expressions

animating, 291Intensity to control, 201layers for different, 127, 128

facial mass, sculpting, 48–49, 48–52Fade option, for Projection Master

script, 153faded border, for alpha as texture

stamp, 124Falloff, 13Fast Shader, 206, 229

fat, adding to face, 60–64, 61female figure

tutorial, 10from ZSphere base, 191, 191

File menu → Import, 101Filters menu (Photoshop)

→ Artistic → Plastic Wrap, 233→ Blur → Lens Blur, 237→ Noise → Add Noise, 233→ Render

→ Clouds, 235→ Lighting Effects, 237

FixSeam (ZBrush Tool Texturemenu), 152

Flat Color material, 100flatInflate brush, 99Flatten brush, 32Flip H (Alpha menu), 115Flip H (ZBrush Texture menu), 151Flip V (Alpha menu), 115Flip V (ZBrush Texture menu), 151fluid strokes, Projection Master

for, 134Focal Length slider, 16Focal Shift, 13folders

for brushes, 158for default alphas, 125for macros, 297, 297ZStartup, 296

folds, modeling, 219–221form, 4–8

breaking down to basic shapes, 8importance of, 111

Frame mode, 85Goblin mesh in, 79for viewing polygroups, 84

Frame Size of movie, 224, 224Freehand stroke, 17, 117, 118

with alpha, 114, 114frontalis muscle, 52, 55, 55FSBorder (ZBrush Tool Texture

menu), 152“Fume”, 238–245

final comp, 245

G

Gaussian blur, 232geometry, adding to existing

ZTools, 101

gesture, 1–4sketches, 2

GetMeshInfo option, for Multi Displacement 3, 256–257

glabella, 46, 49, 49Gnomon Alpha library, 115, 129

LeatherySkin folder, 130Gnomonology.com

animation meshes, 205female figure tutorial, 10

GrabDoc (Alpha menu), 115GrabDoc (ZBrush Texture

menu), 151Grad (ZBrush Texture menu), 151gradient settings, changing

default, 311gravity, 94Gravity Strength brush option, 34,

36, 36grayscale color value, as bump or

recess, 139Grd (ZBrush Tool Texture

menu), 151group UV (GUV) tiles, 150, 150Group Visible, for polygroups, 86GUVTiles (ZBrush Tool Texture

menu), 152

H

H.264 compression, 225hand-laying UVs, 148, 149hands on biped, 186–187, 187hard-body objects, 83hard drive, temp files on, 76HDR lightmaps, 241head

final appearance, 73Pixologic test, 267

head ZTool, 206, 206headus UV Layout, 239, 239Height (ZBrush Texture menu), 151Hercules, from Piazza della

Signora, 3hotkeys, 193, 305–306

custom, 306for Interactive Light, 309setting save, 308, 308–309

HRepeat (ZBrush Tool Texturemenu), 152

Hypershade, 261

■ Index 321


I

IButton command (ZScript), 301If command (ZScript), 300IGet command (ZScript), 299Image menu (Photoshop) → Image

Size, 236image planes, 153Image Size dialog box (Photoshop),

236, 236imf_copy utility, 258imf_info.exe utility (Maya), 258Import/Export (ZBrush Texture

menu), 151Import Option dialog (Maya), 101,

252, 259imported meshes, 76–80

optimizing for ZBrush, 78, 78–80, 79

importingimages to use as alphas, 123–124meshes, 84–101

adding details back after,105–107

adding geometry, 95–100character bust, 91–94polygroups to organize,

84–90OBJ files, 11topology, 208–209UVs, 150ZBrush, Maya mesh, 105–109

Inflate brush, 32, 94vs. Standard brush, 33, 33

Initial File Index option, for MultiDisplacement 3, 257

Insert Connector Mesh option, foradaptive skin, 189

Insert Local Mesh option, for adap-tive skin, 189

insertMesh, 95installing ZScripts, 295intensity of details, adjusting, 137Intensity option in Alpha menu, 115Intensity slider, 19, 127

and posing, 201Interactive Light utility, 93

hotkey for, 309intersection resolution, 189Invers option in Alpha menu, 115

Invers (ZBrush Texture menu), 151inverting

mask, 81stencils, 120

Invr button, 120ISubPalette command (ZScript),

301, 304

J

Johnson, Bill, 157joints

centering action line endpoint in,194, 194

in ZSphere, 176, 177Joyner, Ian, 219–221Jubinville, Steve, 226

K

key, 6Kingslein, Ryan, 43, 157, 191knockout masks, 230

L

lacrimal caruncle, 63, 64landscape canvas, 227Lasso tool, 87

for hide marquee, 166, 167for mask selections, 25

Layer brush, 33Layer menu (Photoshop) → Layer

Mask → Reveal All, 235Layer menu (ZBrush), 12layers, 15

and details, 126–140intensity of, 127in Photoshop, 231, 232turning off, 127for wrinkle details, 129

LazyMouse, 17, 23, 23, 220for texture, 119ZIntensity slider for, 24

leg of helix, 70, 71lens blur filter settings, 237levator labii muscle, 56, 56light, 15, 241–242

affecting, 5interactive, hotkey for, 309in Maya, 287moving interactively, 6in Photoshop, 237, 237in ZMapper, 276, 276

Light menu (ZBrush), 12line weight, for wrinkles, 132, 132lion head sculpture, 3

finishing, 27, 27progression of basic to fine lines, 7refining, 22–26subtools, 20–22tutorial, 15–19, 16–18

Load Next User Interface Layout button, 306

Load Previous User Interface Layoutbutton, 306

local subdivision, increasing polygoncounts with, 81–82, 81–82

Loing, Fabian, 82–83Loop command (ZScript), 300

M

M mode, 13Macro menu (ZBrush), 12macros, 295

creating custom brush, 298recording, 297–298returning brush to default

setting, 298vs. ZScripts, 295–298

Magnify brush, 32main menu, 11Make 3D option in Alpha menu, 115Make Adaptive Skin button, 188Make Modified Alpha option in

Alpha menu, 115, 124Make PolyMesh3D tool, 57Make St option in Alpha menu,

115, 119Make Tx option in Alpha menu, 115MakeAdaptiveSkin button, 190MakeAlpha (ZBrush Texture

menu), 151MakePolyMesh3D tool, 45, 100Mallet Gouge brush, 33mandible, 46.map file format, 258

322 ■ Index


mapping. See also bump maps; cavitymap; displacement map; normal map; ZMapper

benefits and drawbacks of automatic, 149

MapSizeAdjust option, for Multi Displacement 3, 257

Marker menu (ZBrush), 12mask marquee, creating, 46masking, 24

Ctrl key for, 25eye socket recesses, 56, 56for hard-body details, 83inverting, 81knockout, 230for removing part of image,

235, 236topology, 197, 197

Masking layer, for creating selections, 232–233

masseter muscle, 52, 53, 53mastoid process, 46, 50, 50MatCap material, 73MatCap Red Wax material, saving,

311–312MatCap White Cavity shader, 16Material menu (ZBrush), 12, 16,

311–312Material Palette window, 16materials

changing for object fill, 228changing startup, 311–312filling model with, 52hotkeys for, 309painting second, while preserving

first, 52Max option in Alpha menu, 115maxilla, 46MaxMapSize option, for Multi

Displacement 3, 257MaxPolyPerMesh slider, 76Maya, 14, 244

16-bit displacement renders,266–267

2008-specific setting, 260mental ray Alpha

detection, 262box model, 238, 238building envelope mesh in,

208–209, 208–209bump maps applied in,

267–268, 268

common problems when movinginto, 269–270

editing mesh in, 101–104, 102, 103

exporting OBJ file for use in, 249imf_info.exe utility, 258import options, 285multimap 32-bit displacement

renders, 264–266rendering normal maps in,

285–288Stingerhead exported and

rendered in, 172transferring model between

ZBrush and, 252and ZBrush, 240

Mayatomr.mll plug-in, 259Mc (Minimal Skin to Child) button,

for adaptive skin, 187–188, 188

McPherson, Jim, 92, 141–144, 194, 212

Mdep option in Alpha menu, 115medial canthus, 64MemCreate command (ZScript), 300MemCreateFromFile command

(ZScript), 300MemDelete command (ZScript), 300memory, and subdivision level, 76memory blocks, managing with

ZScript, 300–301MemRead command (ZScript), 300MemWrite command (ZScript), 300mental ray Approximation Editor,

259, 259mental ray render plug-in, 249, 258

processing displacement maps foruse in, 258

mentalis, 52menu, custom user, 310, 311menu dock, 11Mesh Insert brush option, 33, 34

adding geometry with, 95–100Mesh options in ZMapper menu, 278mesh twist, from rotated

ZSpheres, 181meshes, 269

arbitrary, 280–281, 281artifacts, 270dividing portion of, 81, 81–82, 82errors in, 211, 211

extraction for making shirt, 216,216–217, 217

imported, 76–82importing and preparing for

sculpting, 84–101adding details back after,

105–107adding geometry, 95–100character bust, 91–94polygroups to organize,

84–90importing from Maya, 105–109optimizing for ZBrush, 78,

78–80, 79organized, 77preview of, 206subdividing, 38with thickness, 214, 214transferring sculpted detail

between, 210–211MeshInsert seam, and Smooth

brush, 97Michelangelo, 8MidValue option in Alpha menu, 115Mirror function, 97, 97models, 14

subdivision density, 8vs. ZTools, 76

ModelViews script, 298–305changing to plug-in, 304–305code flow, 302ModelViews button, 304subroutines, 302–304

ModelViews.zsc file, 304Modifiers menu for Movie, 224Mongeon, Joel, 288Morph brush, 33, 106Morph IV function, 150Morph options in ZMapper menu, 278morph target

to soften details, 137, 137storing, 106, 253

morph3D, 289, 290mottling, 157mottling pass, 161–162, 162MouseAverage slider, 17, 117mouth

opening, 92polygroups to move, 89–90, 90on ZSphere biped, 190, 190

Move brush, 19, 24, 32, 46to pull shapes, 98, 98

■ Index 323


Move mode, 193for ZSpheres, 178

movieappending frames, 226from screen action, 223ZMovie for, 223–226

Movie menu (ZBrush), 12moving, 22, 22

objects and faces, 21ZSphere object, 195, 195ZSpheres, 180–181

Mp (Minimal Skin to Parent) button, for adaptive skin,187–188, 188

MPEG-4, exporting, 225MRE (Multi Resolution Editing)

technology, 101Mres option in Alpha menu, 115MRGB mode, 13Msm option in Alpha menu, 115MTransformGet command

(ZScript), 301MTransformSet command

(ZScript), 301Multi Displacement 3 method, menu

options, 256–257Multi Resolution Editing (MRE)

technology, 101Multiply blending mode, in

Photoshop, 232multiresolution editing, 29–30, 30muscles

adding to skull, 52, 52–56fibers and skin wrinkles, 131for neck, 66–68, 67–69origins and insertions, 66

mylohyoid muscles, 59, 60

N

n-gons, 80, 269name, for custom menu, 310nasal bone, 46

ridge, 48nasalis, 52nasolabial fold, 62

masking out, 63navigating

in Edit mode, 14in ZMapper, 277

neckadding, 65–66, 65–66bumps, 134, 134muscles, 66–68, 67–69

neutralizing color, 157, 166, 166New (ZBrush Texture menu), 151Nguyen, Ang, 75Noise option in Alpha menu, 115noodling pass, 161Normal & Cavity Map tab, 276normal map, 247, 249, 273–275,

274. See also ZMappervs. displacement map, 248generating, 275–277rendering in Maya, 285–288

Normalized option, for ProjectionMaster script, 153

nose, 59nostrils, 59Note command (ZScript), 299Nudge brush, 33

O

OBJ files, 101exporting

from Maya, 104, 258from ZBrush, 101

exporting mesh as, 249importing, 11models as, 84moving between applications, 252

obj models, 14objects, filling with material, 228objExport.mll plug-in, 259occlusion map, 283Oliver, Alex, 111, 112Opacity slider, for movie overlay

image, 224optical mixing, 156, 157Orbicularis oculi muscle, 52, 58

and wrinkles, 131Orbicularis oris muscle, 52, 54, 54organized meshes, 77orthographic camera, 16overlapping UVs, 250

crashes from, 249Overlay Image, for movie, 224Overpaint Border Thickness option,

for Multi Displacement 3, 257

P

painting, 139base color washes, 163creature skin, 155–169mottling pass, 161–162, 162stencils for, 119temperature adjustment, 163–166

panning, 14in ZMapper, 277

Parametric subdivision approxima-tion, 260–261

Patton, Scott, 227Perseus, 4Perspective Camera, 16, 16Perspective mode, turning off, 139Petroc, Zack, 9–10photographs

for adding smoke, 242–243, 243loading into Alpha menu, 124as texture stamps, 123

Photoshop, 227–231canvas, 170compositing, 231–237creating selections with Masking

layer, 232–233depth of field, 236–237experimenting in, 242, 243finishing touches, 235–237integrating ZBrush painting tools

with, 169lighting effects, 237, 237loading ZBrush document,

122, 122ZAppLink layers in, 173

Picker menu (ZBrush), 12Pinch brush, 22–23, 32, 220

stroke from, BrushMod slider and, 23

Pixologic website, 75, 169ZBrushCentral Forum, 305

pixols, 15converting current canvas view

to, 152planar analysis, 8Plane3D tool, 15plateau

creating with brush curve, 35, 36raycasting, 291–292, 292

Plug-in Manager window, 258, 259

324 ■ Index


plug-ins, ZScript changed to, 301,304–305

Point Select, 87Pointillist paintings, 156poles, 45, 269polyEditUV command (MEL), 265polygon counts, increasing, 81–82,

81–82polygon sphere, 100polygon vertex, applying RGB value

to, 154polygroups

creating, 85to move mouth, 89–90, 90for organizing mesh, 84–90Subtool menu to break apart, 87

polymesh, 16converting object to, 20converting sphere to, 45

Polymesh3D, 219PolyPaint, 147, 152, 153, 154–155

enabling, 159for planning topology, 204

PolySphere ZTool, 45pop-up message, script command to

display, 299pores.tif file, 133portrait canvas, 227posable symmetry, 202, 202posing figure, 198, 198–201

bone, 200, 200Intensity slider and, 201lattice quick rig for, 242

Preferences menu (ZBrush), 12→ Config → Store Config, 14→ Custom UI, 309, 310

→ Enable Customize, 14→ Mem, 76Unify Scale setting, 256

Preview Adaptive Skin, 178, 179preview of mesh, 206primary colors, 156primary form, 111, 112primitive, object as, 20processor speed, and subdivision

level, 76procurus, 52Projection Master script, 27, 152

Color option, 152–153, 153for details, 134–137menu, 135

for painting in UV space, 139for Stingerhead, 166–169,

167, 168proportion, 8PSD files, 123

saving alphas as, 126

Q

quad geometry, for ZBrush, 80Quick Launch bar, 11Quick Render mode, disabling, 139QuickTime Compression Settings

dialog box, 225, 225QuickTime video, 223

exporting ZMV file as, 225

R

radial fade, 125Rake tools, 30, 38, 40

draw size, 50–51, 51rakes, 40–42, 61

for directionality, 42real-world, 39

Raycasting Max Scan Distance slider,279, 281, 292, 292

raycasting, plateau and silhouette,291–292, 292

re-tessellation, 248recording

macros, 297–298screen display, 223–225

red line, for center of influence, 23Red Wax material, 16, 52relative size, 10remeshing, preparing for, 204–205Remove (ZBrush Texture menu), 151Render menu (ZBrush), 12render passes, creating, 227–231Render Region feature, in ZMapper,

279–280Render Settings window (Maya), 263rendering, 15

double-sided, 24, 25seams in, 260settings, 263troubleshooting, 269–270

Replay Last command, 24, 118Reproject Higher Subdiv tool, 72, 253

Reproject Highres Details tool, 70rescaling, with expressions, 262–263resolution, of preview mesh, 207retopology, 203–205, 204, 205, 239

saving, 208Rf option in Alpha menu, 115RGB image file, normal map as,

274, 275RGB intensity, 140RGB mode, 13rhythm and motion of pose, 1, 4Rigging menu, 206Ring3D tool, 20rivets, 113root ZSphere, 178, 206

drawing ZSphere on, 177rope, ZSphere subtools for adding,

217, 217–218, 218Rotate (Alpha menu), 115Rotate mode, 193Rotate (ZBrush Texture menu), 151rotating, 14

action line for arm, 199models, in turntable

animations, 226in ZMapper, 277ZSpheres, 180–181, 181, 195

RoutineCall command (ZScript), 299RoutineDef command (ZScript), 299

S

Samples brush option, 34saturation, 156Save hotkey, 308, 308–309saving

brush in BrushPresets folder, 158custom brushes, 37, 37–38modified alpha version, 124Photoshop selection as stencil,

122, 123retopology, 208video as ZMV file, 225ZBrush document, 231

scale factor, of movie, 224Scale mode, 193scaling

alphas, 120ZSpheres, 180–181, 196

screen display, recording, 223–225

■ Index 325


Screen options in ZMapper menu, 278

sculptingapproach to, 29–30ecorche approach, 42, 42–43stencils for, 119

sculpting brushes, 32–33secondary colors, 156secondary forms, 111, 112Select menu (Photoshop) → Load

Selection, 233selection in Photoshop

creating and saving as stencil, 122, 123

Masking layer for creating,232–233

naming, 233shadow

adding, 231, 231–232affecting, 5change in character, 7

shadow casting surface, altering, 5shadow pass, 229sharpened edge for mask, 197, 198silhouette, 99, 99, 100

raycasting, 291–292, 292Simple Brush, 31size

for alpha, 125of document, changing

default, 311relative, 10

skinaccentuating details, 234–235adding pores, 133–134, 134adding to face, 60–64, 61base for tone, 159loading image in Photoshop, 231,

231–232loose-hanging, 94pores, bump maps for, 267thickness, 214

Skin 04 MatCap material, settings, 163

skin alphas, 123skin shader, exporting, 228skull, 43

adding muscle, 52, 52–56adding neck, 65–66, 65–66adding skin and fat, 60–64, 61basic form, 45bony landmarks, 45, 46

checking proportions, 50ears added, 70–73facial mass sculpting, 48–49,

48–52final, 51final head appearance, 73in profile, 44roughing in shape, 47, 47–48sculpting, 44–73

smoke, 243, 243Smooth brush, 33, 66

custom version, 37and MeshInsert seam, 97Shift key as shortcut, 13

smooth strokes, 22–23with rakes, 69

Smoothing Curve brush option, 34SnakeHook brush, 33, 219Snapshot option, for ZMovie

recording, 223Soto, Javier, 157Spatial subdivision

approximation, 260specialty brushes, 33specular shine, 233, 234Spencer, Scott, 212sphere

converting to polymesh, 45for eyeball, 100

Sphere3D tool, 43, 45SpinFrames slider, 226spiral primitive, 95–96, 96spray brush, custom, 158, 158Spray stroke, 118Standard brush, 16, 32

to accentuate shadows, 109vs. Inflate brush, 33, 33

star configurations, 80, 80startup material, changing default,

311–312startupdocument.zbr file, 311, 312Stencil menu (ZBrush), 12, 120–122stencils

alphas as, 113, 119–121, 120detailing with, 128–131for eye wrinkles, 130–131, 131inverting, 120saving Photoshop selection as,

122, 123wrap mode for, 121

sternomastoid muscles, 50, 66, 67, 67refining, 68

Stingerhead, 98–109, 109detailing with alphas and stencils,

128–131, 130exported and rendered in Maya, 172final details, 138final painted, 171Projection Master script for,

166–169, 167, 168renders with displacement and

subsurface scattering, 270tertiary details, 112

Stitch brush, 33storing

character position, 227views, 172

Stretch Actual Horiz button, 121Stroke menu (ZBrush), 12, 17, 118

→ LazyMouse, 23, 23→ Replay Last, 118→ Roll modifier, 117

Stroke palette, 117strokes, 34, 35

and alphas, 116, 116–119crosshatching, 50different strokes for applying, 116repeating to build up effect, 24

Stumf, Ralph, 73subdivided mesh, pulling large forms

out of, 65–66Subdivision Approximation, 260–261

impact on details, 264subdivision levels, 17, 29, 128

adding, 22density, 8maximum for machine, 76and memory, 76moving between, 26

Subdivision Surface, convertingCCMesh to, 260

subpalette in ZBrush, 301subpixel displacement, 248subroutines, in ZScript, 299Subtool menu, to break apart poly-

groups, 87subtools

cloning, 96navigating, 20

superciliary ridge, 46Svengali, 298symmetry

activating, 16posable, 202, 202

326 ■ Index


turning off, 94X, 16

posing as limitation, 213for ZSphere, 177

SysPalette, 159

T

Tangent Space Node Best Qualityconfiguration file, 285

teeth, 92, 241temp files, on hard drive, 76temperature contrast, 156temperature of color, 156temperature zones on face, 157

blocking, 159–160, 159–161temporal fossa, 48temporal ridge, 46temporalis, 52

adding to skull, 54, 54tertiary colors, 156tertiary details, 111, 112tessellation, 248texture coordinates, 147texture, LazyMouse for, 119Texture menu (ZBrush), 12, 150, 151Texture palette, 151texture stamps

alphas as, 113, 115photographs as, 123

TIFF files, 123converting to map format, 258

tiling stencils, 120Time-Lapse option, for ZMovie

recording, 223–224Title Image menu, 224, 224Tool menu (ZBrush), 12

→ Adaptive Skin, 187→ Density, 206→ Make Adaptive Skin, 207

→ Brush, 106→ Clone, 57, 96→ Color → SysPalette, 139, 159→ Deformation

→ Inflate, 83→ Mirror, 97

→ Displacement, 254→ Display Properties → Double

button, 24, 24→ Export, 101→ Geometry, 125

→ Crease, 77→ Delete Lower, 97→ Divide, 17→ InsertMesh, 96–97→ Reconstruct SubDiv, 97→ Reproject Higher Subdiv,

72, 253→ Import, 84→ Initialize, 20, 95→ Layers, 127→ Make PolyMesh3D, 20, 20, 96→ Masking

→ Clear, 25→ Mask by Cavity, 36

→ Morph Target → StoreMT(Morph Target), 89, 106, 129, 253

→ Normal Map, 275→ Plane3D, 116

→ Make PolyMesh3D, 275→ Polygroups, 85

→ Group Visible, 87→ UV Groups, 106

→ Projection, 207→ Save As, 208→ Subtool

→ Append, 20, 20, 57, 96, 217

→ Group Split, 87→ Project All, 210, 210mesh extraction

settings, 217→ Texture, 151, 151–152

→ AUV, 139→ Colorize, 159, 204

→ ZSphere, 176, 176tooltips, to display hotkeys, 306topology

applying tools to 3D scan data, 211

for building accessories, 213–218common issues, 80example of problematic, 270importing, 208–209masking, 197, 197retopology, 203–205, 204, 205ZSpheres and, 205–211

Topology menu, 206TPoseMesh, 202TPose>SubT button, 202tragus, 72

Transform menu (ZBrush), 13→ Activate Symmetry, 16, 182→ Nudge, 253→ Pinch brush, 253

Transform options in ZMapper menu, 278

TransformGet command (ZScript), 299TransformSet command (ZScript), 299Transpose Master, 202–203Transpose Move, 91Transpose tools, 21, 21, 98

action line for, 194, 194–196for moving and posing figures,

193–202posing, 201

mesh density and, 199trapezius muscle, 67

raking, 68tri, 80, 80triangularis muscles, 55Tronic, Marco, 260troubleshooting

rendering and artifacts, 269–270ZScripts, 305

turntable animations, 226ZMovie recording, 223

tutorial on lion head sculpture,15–19, 16–18

finishing, 27, 27refining, 22–26subtools, 20–22

Txr>Col (ZBrush Tool Texturemenu), 151

U

Ubisoft Cinematics, 154Udim option, for Multi Displacement

3, 257Unify Scale setting, 256upper lip, adding, 59Uv Check (ZBrush Tool Texture

menu), 151UV groups, 86UV layout, 148, 148, 149UV mapping, single-region and multi-

region, 251UV projection, 147UV projection texture method,

152–153

■ Index 327


UV Texture Editor (Maya), 104, 265, 266

UV texture map, baking PolyPaintinginto, 154, 171–172

UVc (ZBrush Tool Texture menu), 151

UVp (ZBrush Tool Texture menu), 152

UVs, 147–150importing and viewing, 150overlapping, 250

crashes from, 249and vertex order, 249–252ZMapper to view, 284

UVs (ZBrush Tool Texture menu), 152

UVTile (ZBrush Tool Texture menu), 152

Uv>Txr (ZBrush Tool Texture menu), 151

V

value, 6changes, 5

value range, 6VarDef command (ZScript), 299variables, in ZScript, 299VarSet command (ZScript), 299vein alpha 22, 162, 162vertex ID, 101vertex order, 252

changes and exploded mesh, 252and UVs, 249–252

Vertex>Txr (ZBrush Tool Texturemenu), 151

viewimpact of changing, 18, 18options for storing, 169

VRepeat (ZBrush Tool Texturemenu), 152

W

white, in mask, 235Width (ZBrush Texture menu), 151wiki for ZBrush, 305Window menu (Maya)

→ Rendering Editors→ Hypershade, 261

→ mental ray → Approxima-tion Editor, 259

→ Render View, 288→ Rendering Settings, 263

→ Settings and Preferences →Plug-in Manager, 258

→ UV Texture Editor, 103Wires options in ZMapper menu, 278work-in-progress (WIP) mesh

export, 101workspace, 15wrap mode, for stencil, 121WrapMode brush option, 34wrinkle map pass, 129, 129wrinkles

bump maps for, 267details for, 141dynamics, 131, 131–137, 132modeling, 219–221painting recesses of, 164, 165

X

X symmetry, 16posing as limitation, 213for ZSphere, 177

Z

ZAdd mode, 13vs. ZSub mode, 125

ZAppLink, 153, 169–172for creating stencils, 122document layer, 170, 170layers in Photoshop, 173Properties, 169, 228views, 172

ZBR file, 231ZBrush

default alpha library, 115exporting model from, 249–252importing, Maya mesh, 105–109interface

customizing, 14, 305,306–307, 307–308

Flat Render, 5general overview, 11, 11–14playing movie inside, 225

loading default alphas, 125and Maya, 240menus, 12–13

mesh optimization for, 78, 78–80, 79

model scaling by, 256with Photoshop, 227–231saving document, 231transferring model between Maya

and, 252wiki on brushes, 33

ZBrushCentral, 123ZBrushCentral Forum, 305ZDepth image, 229, 230ZIntensity slider, 24, 118ZMapper, 122, 150, 273, 275–280

for blend shapes, 289–291, 290configuration files, 279control types, 278interface, 276, 276, 277,

277–278, 284menu options, 277quick reference, 293Render Region feature, 279–280starting, 275–277to view UVs, 284

ZMovie, 223–226ZMV file, 223

exporting as QuickTime video, 225saving video as, 225

zoom in and out, 14in ZMapper, 277

Zoom menu (ZBrush), 13ZPlugin menu (ZBrush), 13

→ Misc Utilities → InteractiveLight, 6

→ Multi Displacement 3, 255, 256ZProject brush, 33, 210.zsc file, 295

regenerating, 305ZScript menu (ZBrush), 13

→ TransposeMaster, 203ZScripts, 295, 298–305

command reference, 299debugging, 305fundamentals, 299–301ImagePlane3, 153vs. macros, 295–298memory block management,

300–301as plug-in, 301recommended references, 305

ZSphere chain, 176drawing, 177–180rotating off center, 178, 178

328 ■ Index


ZSpheres, 78, 78, 175, 176, 176–181biped from, 182–191

arms, 183, 185edge loops for head, 189,

189–191elbows and knees, 184, 184hands and feet, 186–187, 187head and neck, 183, 183initial chain, 182legs, 183, 185, 185–186shoulder and hip, 183

cavity map, 282–284, 283drawback of modeling, 175moving entire object, 195, 195moving, scaling and rotating,

180–181re-posing and reproportioning,

190, 190, 191scaling, 180subtools for adding rope, 217,

217–218, 218topology masking, 197, 197

ZStartup folder, 296ZSub mode, 13, 19

vs. ZAdd mode, 125ZTool layer, storing pose in, 199ZTools, 15, 84

adding geometry to existing, 101vs. models, 76

zygomatic bone, 46, 47pulling out, 51

zygomatic process, 46, 48, 50zygomaticus muscles, 52, 56, 56

■ Index 329


Documents

Acquisitions Editor: Mariann Barsolog-ecx.images-amazon.com/images/G/01/wiley-ems/ZBrush... · 2008. 7. 30. · Gesture, Form, and Proportion 1 Gesture 1 Form 4 Proportion 8 ... Making