book

Getting Started in ZBrush, 2nd Edition

Name: Getting Started in ZBrush, 2nd Edition
Author: Gregory S. Johnson
ISBN: 9781040044148

by Gregory S. Johnson

June 2024

Beginner

456 pages

12h 11m

English

CRC Press

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Cover
Half Title
Title Page
Copyright Page
Dedication
Table of Contents
Acknowledgements
Author
Chapter 1: Introduction
OverviewProfessional practicesCreativityReference materialCopyrightPublicizing your workResourcesConclusionFurther reading
Chapter 2: The Fundamentals
Getting and installing ZBrushInterface layoutMenusConventions and mouse buttonsControlsInterfaceHelpShortcutsCritical concepts2D, 3D, and 2.5D and bit depthPixelPixolWorking with the canvas and documentsThe Silhouette view in the cornerSaving your workOrganizing files and pathsAdditional helpConclusionFurther reading

Chapter 3: The Basics, Part 1
Working with 3-D ZToolsSaving your workConclusion
Chapter 4: The Basics, Part 2
Getting startedPlacing a Sphere3D on the canvasParametric meshesSculpting a meshUsing DynaMeshSculptris pPro mModeSubdivisionSymmetryThe smooth brushSaving your work – 3D toolsSaving your work – canvas documentSaving your work – filesConclusion
Chapter 5: The Fish, Part 1 – The Primary Form
IntroductionBrushes and brush controlsPicking a materialMaking and moving a PolyMesh3D objectIntroducing DynaMeshSummary of 3D sculpting stepsTransforming the modelThe hPolish brushThe Inflate brushConclusionFurther reading
Chapter 6: The Fish, Part 2 – Fins and Secondary Shapes
Getting startedDetermining the polygon count of your modelMaskingCreating the finsAdd more finsIntroducing selection brushes and object visibilityThe Lazy Mouse featureUsing DynaMesh’s Resolution featureFixing common problemsSaving and backing up your model fileMaking the gillsConclusionFurther reading
Chapter 7: The Fish, Part 3 – Making Eyes
Getting startedUsing parametric objectsIntroducing colors and materialsCreating the eyeMaking the eyelidsAdding the eyeball models to the fishConclusionFurther reading
Chapter 8: The Fish, Part 4 – Tertiary Details
Creating the tongueAdding the tongue to the fish modelSculpting details in the mouthDetailing the finsMaking fish scalesMerging the eyelids with the fishConclusion
Chapter 9: The Fish, Part 5 – Painting the Fish
Welcome back and setting preferencesMaterials for paintingFilling in a base colorHand painting the modelApplying shadingAdding highlightsRendering out a final imageConclusionFurther reading
Chapter 10: The Planning Stage
Pre-production, production, and post-productionPre-production overviewIdeationSketch bookImage and photo journalsDream journalFree writingRandomizationMind mappingColumn mixingMixing it up and combining it allConcept documentConcept document worksheetReference imagesAsset listConclusion
Chapter 11: Re-Making the Fish
IntroductionMaking the fish frownRemaking the eyeballsAdjusting the eyelidsRepainting the fishSymmetry and asymmetryIntroducing the transpose lineAdjusting the tongueConclusion
Chapter 12: Creepy Pie Guy, Part 1
IntroductionMaking the basic pie shape from a cylinderUsing the TrimCurve brushUsing the Gizmo 3D to align your model correctlyReference images and primary forms, secondary shapes, and tertiary detailsMaking the crustCreating the sides of the pie sliceDynaMesh and SDivFixing problematic spikesCreating the eyeballsAppending the eyes to the pie sliceConclusion
Chapter 13: Creepy Pie Guy, Part 2 – Secondary Details
IntroductionCreating eye socketsDynaMesh and scaling factorsAdd a few more detailsSplit To PartsMaking a crispy edgeAdding a mouthAdding wrinklesCreating the lips and noseUsing a reference image with the See-through sliderAdding detailsCreating eyebrowsConclusion
Chapter 14: Hands and Arms
IntroductionMaking a handOne approach to creating the fingersA different approach to making the fingersCreating the other fingersCreating the armAdding a cartoon element to the handFinishing the hand and arm modelConclusion
Chapter 15: Legs and Attachment
IntroductionProblems minimizing and maximizing ZBrush?Making the legMaking the shoeMaking the sole of the shoeFinalizing the shoeCombining the shoe and the legPutting all of the pieces togetherRevisiting the transpose line interfaceFirst, the legAnd now the armDuplicate and mirror both limbsTake a good look at what we have wroughtConclusion
Chapter 16: Pie Tweaks
IntroductionIncreasing the polygon count for paintingChoosing a materialPreviewing a material on your modelAssigning the material to the modelPainting color onto your modelSeparating pieces from the modelUsing the extract commandCleaning up the pie modelCheck for problemsFixing a spikeFinishing stepConclusion
Chapter 17: Pie Painting, Part 1
IntroductionThe ZAppLink plug-inAdjusting the document sizePrepare the model for texturingSetting up ZAppLinkWorking with ZAppLink inside of Adobe PhotoshopAbout Adobe PhotoshopGoing back to ZBrushCreating a texture for the back of the modelGoing back into ZBrush againNext stepsHow to touch up the textureSolving issues with lagContinuing the processUsing ZAppLink for the side of the modelLast stepConclusion
Chapter 18: Pie Painting, Part 2
IntroductionSetting up the work areaImporting a texture mapAdding texture to the SpotLightUsing the SpotLightMask By PolypaintPainting the eyebrowsApplying noise with the NoiseMakerPerlin noiseFractional Brownian MotionFinishing the eyebrowsConclusion
Chapter 19: Pie Painting, Part 3 – The Hands and Feet
IntroductionMerging subtoolsSplitting out the hands and feetApplying a base color to the hands and feetIntroducing masks by cavity and the cavity profile graphUsing mask by cavityCreating highlightsPainting the shadows and highlightsThe hands and feetFixing a holeConclusion
Chapter 20: Pie Painting, Part 4 – The Eyes
Getting a fresh perspectiveFixing the eyesAdding detail to the pupilPreparing the eyelidsDetailing the eyelidsPainting the eyelidsPainting blood vesselsOrganize your fileConclusion
Chapter 21: Posing
IntroductionError checkingPolygon countMerging subtoolsAdding a model as a subtoolPosing the characterUsing the TransPose linePosing process summaryForward and inverse kinematicsPlacing the dead fish model into the sceneGrabbing the propFinal touch upConclusion
Chapter 22: Lighting
IntroductionCameraThe background imageLighting setupLighting basicsMatching a photographic referenceThree-point lightingKey lightBack lightFill lightTypes of lightsCreate the key lightAdd the back lightMake a fill lightLighting resultsSaving the lightsConclusion
Chapter 23: Rendering
IntroductionGetting startedRender propertiesImage file typesBPR RenderPassExtra tricksConclusion
Chapter 24: Compositing
IntroductionGetting startedRender passes as layersUsing a mask for transparencyPlacing the background imageAdd the depth cue render passAdd the sss render passIncluding shadingAdjusting the lightingUsing extreme render passesAdding reflectionsMaking shadowsCopyrightConclusion
Index

Content preview from Getting Started in ZBrush, 2nd Edition

17 Pie Painting, Part 1

DOI: 10.1201/9781003215288-17

Introduction

With this chapter, we start properly texturing our main character. During this process, we will paint and detail the character by adding textures derived from photographs. While this can be a difficult process, it is absolutely essential to creating a successful 3D model. While painting and texturing your model, remember that a good model with a bad texture looks bad, while a bad model with a good texture looks good. In other words, do not scrimp on this part of the process! Creating a good texture for your model is at least as important as making the model itself, and you should allocate your time accordingly.

The ZAppLink plug-in

Luckily for us, our character is composed ...

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