![]() This is a feature that is harder to find in other 3D modeling softwares. The extra appeal that ZBrush provides comes from the ability to alter forms and models in extreme detail, even up to for example the pores of a given character. Working with ZBrush is directly related to artistry, not just about understanding the software, but the artistic components behind bringing a creation to life. Similar to working with clay in ceramics, users in ZBrush are able to sculpt their creations into the forms they are seeking, morphing the mold via alterations with various tools. Developed by Pixologic, Inc., the software allows users to develop models with expanded freedom and at faster speeds than other 3D modeling softwares such as Maya or 3ds Max. I try to use the biggest possible brush and the weakest possible strength to do the job.ZBrush is one of the leading tools for creating and sculpting 3D-models in high resolution. In summary, my general sculpting process is to block in detail broadly, and only start refining detail once I like the overall shape. Pinch – used in later stages, Pinch sharpens detail and straightens out curves into more regular shapes.Last, for the finest level of detail, I use Foamy, but also add Pinch to the mix. Foamy – used with a sharp falloff and negative value, to push inwards around the edges of shapes to emphasize them.Wax – used next, to quickly block out muscle shapes, in a similar fashion to my earlier Mudbox muscle sculpting tutorial.Second, for large detail, I rely on Wax and Foamy. Bulge – quickly adds volume to our new silhouette.Grab – used in the beginning, this is how we change our mesh’s shape to match the silhouette of our character.However, some brushes tend to show up more often on certain stages: First, for our silhouette, I use the tools Grab and Bulge. And you’ll need the right tools for each stageĮvery brush can be used at every stage – for example, the Smooth brush is used after almost every stroke, to blend our sculpting. Last, we tackle fine detail, like skin pores, fabric texture, and the like. ![]() ![]() Second, we block in large detail shapes, like muscles or clothing bulges. So we start with a generic mesh, then reshape it to create the character we want. ![]() First we worry about the overall silhouette of our mesh. That’s what the idea of Progressive Detailing is all about. The biggest mistake is rushing in and trying to create high-res detail immediately! Instead, we want to iteratively build up the detail on our surface, subdivision level by subdivision level. We can start with the generic base human in Mudbox, so that we can get right down to creating our character. This Mudbox character sculpting tutorial takes the opposite approach to my Maya character modeling tutorial, where we start by building a low res base mesh, then move on to sculpting. Updated : Parts 2 and 3 are here! Starting with the sculpt We begin with creating the basic shape of the character, and then detailing the character via sculpting! This multi-part tutorial will cover Mudbox character sculpting, adding high-resolution detail, painting textures, and more.
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