How to Create Detailed 3D Sculpts - ZBrush Basics | Tom Hanssens | Skillshare

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How to Create Detailed 3D Sculpts - ZBrush Basics

teacher avatar Tom Hanssens, Professional Technical Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

6 Lessons (57m)
    • 1. Introduction

      0:52
    • 2. Project Setup

      8:52
    • 3. Edge Ware

      8:32
    • 4. Large Details

      15:08
    • 5. Micro Details

      13:58
    • 6. Bonus - Wood Sculpting

      9:39
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About This Class

Hello!

In this class we are going to explore the sculpting program ZBrush to create some detailed 3D models from basic shapes. We will cover how to import a base mesh into the program, how to sculpt some edge ware, surface details, and how to navigate the program as a whole.

This is intended as an introduction to get you comfortable in the program and making cool stuff right away! ZBrush can be a bit of an intimidating beast to get started in so hopefully by the end of this lesson you'll be on your way to creating some wonderful models without feeling like you are navigating the controls of a spaceship.

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Tom Hanssens

Professional Technical Artist

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Transcripts

1. Introduction: Hello everyone and welcome to my class on the basics of ZBrush sculpting. So within this class we'll be creating a stone, brick and they'll also be a bonus lesson of creating a wooden plank. So well is the time-lapse of that plays in the background. I'll give you a bit of info on the coals. So we'll be covering the basics of how to navigate the program and how to get straight into sculpting these cool details and getting a nice intricate result. So we'll start with things like making edge where adding some larger details like surface imperfections. And then we'll get into the micro details. So the little noise profile on the actual scope ZBrush can be a pretty intimidating program to look at when you first get started. But hopefully by the end of this class, you'll be comfortable navigating ZBrush and you'd be able to make your own cool scopes. Hope you enjoy it. Thank you. 2. Project Setup: Hello everyone and welcome to the first lesson in hat to sculpt in ZBrush. In this lesson we're just going to be covering making a base mesh. So this is going to be like the foundation that you're going to scope from. And then by going to put it into ZBrush and just set up our project so that in the next lesson, we can get to actually doing the cool stuffs I do on the sculpting. So if you don't care much about making a base mesh and you just want to learn about the sculpting. You can skip to that one and just use the base mesh that I've provided in the the coals, whatever that's cold. Okay, So just in whatever 3D modeling program you want to use, I'm just using blend this. I've just opened this up. You want to just delete everything, make a cube. Then I'm going to scale it up by 2.5. And then you wanna make sure you press Shift Control a and apply the rotation and scale because we're going to bevel it. And if he doesn't do that, if I press Control B now, you can see that top, he's babbling more than the bottom because we scale that up so it's stretching. If we just press tab, go to control a, Apply rotation and scale. If I press Tab again and press Control B, now devils nicely. So we just want a thin bevel. And the reason we're doing this. So I'm just scrolling up to at a few more divisions, two main divisions. So the reason we're doing this is because we're going to subdivide this up to be pretty high resolution. And if we dine out this bevel in, when we sub-divide a cube, it just turns into a sphere. And we don't really want that. And also this is small. Bevel gives us like some an edge to start sculpting into. If it's a completely flat 90 degree angle, it can be a bit hard to find the angle to get nice like chipped detail in there. So anyway, that's basically all you need to do. And then you wanna go to File, File Export and you want to export it as an OBJ, you can export it as an FBX, but ZBrush saves such as like a BJ's more. So just export that and then I'll hop into ZBrush and show you how to import it. So just I can see Russia in ZBrush, who I'm in ZBrush 2018. Doesn't really matter which version you have. This stuff I went doing isn't any of the revolutionary stuff. It's, it's the basics. So what we're going to do first things off is closed this light bulb, so I just click lightbox clauses that next we want to click on import. So over here you'll have tool. Mine may look slightly different to yours. I have a fee menus here that I've, that I've made, but I should relatively nicely the same. So I just click Import here and then find your AV, j and m bulleted. So I'll see you do that. You'll notice it comes up here and these are your Z tools. And this one is the one that we have selected. So. We've imported it, it's selected it for us. And now how do we put it into the same entity, okay, where in Draw mode and draw mode just means we can draw out now tools. So if I click and drag, just left-click or if you're using the tablet already just press and drag. You can see where dragging out a tool. So if you hold Shift, it can snap to a axis. Then we want to let go. And now press anything. We want to press T to go into edit mode before we try and start rotating or anything, we can click this button. So press T. And now we're able to rotate around an object. So if you just click in this empty space over here and drag, we can rotate. If you hold Shift and click, it can snap and Alt and click pans. And then if you let go of all whilst you're panning, E can zoom. So left-click, left-click, letting go vote. And that's pretty much all you need. If you find the rotating on all of these axis a bit disorienting, you can just click Rotate on y axis and that will rotate it more akin to how you would rotate stuff in a regular 3D modeling program if that's more comfortable for you, but I recommend using this. You get used to it eventually. So now that we have L mesh in the same things you wanna do. So first thing, this is personal preference. I hate this red mat cat material. Full sculpting, little chip details and stuff. I prefer the mat cap want to cavity. And that'll highlight some of the edges that you have m in it. I just don't really like the look of it a bit more. And then, so you'll notice we have a bunch of these menus here. So if you click like on the side here, you can scroll up and down this giant list. And so most of our time is going to be spent in the geometry tab. So you just click on geometry. And then we scroll down. And then we have these buttons here. So we're going to do is we're going to sub-divide it up so that we have a lot of polygons to work with. And then the way going to DynaMesh it. And we could DynaMesh it right away. But I'll just show you the reason that would die to Michigan. So first things first, you can say active points here. This is kind of like how many triangles you have. It's not completely accurate. Because points different than triangles, and it may select vertices. How many vertices you have, we have 96 at the moment. If we go to divide, you can see it increase, increase, increase. And ZBrush is pretty good at handling millions of polygons. So don't worry too much about it getting too high though for a break, he probably don't want to be going much more than a million. You don't really need that amount of detail in like an upper stone block. So if we go down to here, it says drawer poly frame. So this just shows you why frame. We can see we have some nice detail, but it is sort of localized around these edges. So you can see there's more lines here then the hour here. So that means if we were to sculpt here, and then sculpt here, we wouldn't have enough resolution here to be the same resolution is. So what I'd like to do is I like to work with DynaMesh. And DynaMesh is kind of like a workflow. So what it does if you click on DynaMesh, if you try and do it now, it'll give you an error. So what we first need to do is delete out lower resolution subdivisions. So you can see like when we subdivided that we have this slide now and we can switch between all the different subdivisions that we have. But we can delete the low res ones. And we're going to delete, delete, delete the lower resonance. And then in DynaMesh wanna go, you might be like, let's try 300 resolution or three or four resolution. And then if we click on DynaMesh, you can see we're at about a 175 thousand points. And then if we look, we have a very even spread of points here. So if I turn poly frame off and I start to sculpt, it will be even everywhere that I sculpt. So now our project is ready and set up to start actually sculpting the detail in a. So in the next lesson, we're going to be covering the three main tools that you're going to be using, the sculpting this and that is clay buildup, trim dynamic, and potentially using trim smooth boldness as well. Alright, so I'll see you in the next lesson. 3. Edge Ware: Hello everyone and welcome back. So in this lesson we're actually going to get onto some of the funds to Alpha. So the fun stuff is sculpturing of kills. So hopefully you guys have got some drawing tablets you may be able to get by using a mouse, but I'll just be using, I'll be using a drawing tablet, like the brushes are pressure sensitive. So the harder you press, the more prominent it is. And then if I press really lightly, you can see it's different. So i'll, I'll show you what we're going to be focusing on today. So Hey, we've got a brush panel and you can either click on it and find whichever brush you want. There are a plenty. But we're only going to be needing three. So I'll show you the hotkeys for those. So for the clay buildup brush, you want to press B for brush, see for clay and then B for build up, I believe. Yes. So then if we start to sculpt, you can see that. So I'm just clicking on the mesh and dragging and I can sculpt on the mesh. And now if you hold Alt, you can dig into the mesh. And if you hold Shift, it will smooth. So if something like this, you won't really be using smooth all that often because we sort of want to chip to look. So that's clay buildup, clay buildup disease for adding some, some general form. And then you come in with another brush and flatten it down, add some details and whatnot. So another tip, square bracket can be used to change size. You can also hold down S and use this slider. So that's question number one. Brush number 2 is called trim dynamic, so b, t, d. And so this one does, we'll navigate to a corner. And I'll just increase my brush a bit. So if I start to see now, we're starting to dig into that mesh. So trend is kind of like a flatten. And it's adaptive because it adapts to the surface angle of the mesh. So you can say like like if I have this angle here and I click and I drag onto the flat, it just smooths that out. But with that other brush, which will need to do something special to get. So if we've got a light box, Let me go to Brush and then we go to Trim. Then we have trimmed smooth boulders. So you just double-click that and then decompress be B T. What is V for this one, B t, bt be off. Do you like that one in? So the reason that this one is different is because if I click on this to flatten it, and then I start dragging onto the flat. It doesn't just smooth it out. It keeps the actual flat the same angle profile. And the reason why you want that, just because it's really great to add chips in. So just an example here. So if I go in here and you say I have this little angle, I can grab that angle. And I have a nice little chip on my block. So I generally first step in sculpting things like this, I'm just going to undo all of this stuff is to add some general where around the edges. So to do that, I'm going to stick with this trim smooth boulders brush. And I'm just going to come in here, start with these colon is, and I'm just tapping, tapping pretty lightly. And if I grab this corner, like this, this little neighborhood that I've created here and I, and I tap on that, I can make a little chip and I can grab it on the other side. And then maybe something like this. And I want to grab the trim dynamic and come in here and soften up this this little bit. Something like that. Let me go back to trim smooth boulders, be TB and we'll just continue along the path will along edges here. So you can add as much or as little where as you like. So to see where that material that we added onto our break so that it comes in handy because we can see all of this lovely edge where that we're adding in and highlights it. Seeing, say we're already starting to get some nice detail. So I'm just going to go around the break and continue. You can sort of mess around with the tools and see how they behave with your brush. And just go around all these edges. Movies have any 12 edges and add in some detail, try to, try to mix it up here and there. So like here, I've got this long sort of strip of chips stuff here. I've got a bit of a deep gouge. You want to mix it up so that it's not so uniform everywhere. All right, so I might go into a time-lapse because it might be a bit repetitive if you just watching me sculpt in real time. So I'll see you once I've finished adding all these 22, Erin. Oh, one other thing you'll notice our view is actually orthographic. If you prefer to look at your model as you would see it in real life, you can click here on the perspective mode and it will make, your model will look as it should if he would just looking at it. This takes away that perspective. This adds up to you whether you want to use it on. I guess I've just gone through and I've added in, oh, this edge here. So the next step of adding edge would probably be to add some more logic, Hs say like splits and cracks and things like that. So there are a few ways to do that. One of the ways that I'll show you will be to actually split the model like separated into pieces. So what I might do is I might separate this half up here. And then maybe it'll come down here and then come through the bottom or something and then come back up. And then if I split that off, and then I do the same sort of edge we're sculpting that I did. We should end up having a nice gouge or a crack throughout L model. Another way to do it is to manually sculpt them. So to do that, we can use a dam standard brush. So if he got a brush, d, s, you can see we get some sort of cracks so you can add some light cracks and stuff like that. And then the other way is using Alpha maps. So I'll try and get all three in, and we'll be doing that in the next lesson. So we'll just stop building upon the detail. Alright, sorry, I'll see you then. 4. Large Details: Hello everyone and welcome back. So in this lesson, we're going to be adding some cracks and other surface detail in various ways. So some of them give us similar effects, some are quite different. But I'm just going to show you some different methods you can use to add some more detail to your, your mesh. So the first one, which is my favorite, is to split it into two pieces. So I might like chip off this corner. And then I'll add some edge where where it meets and it will look like we've got a nice gas through the through this through the block. So to do that, if you hold down Control, you'll be able to mask your object. And so I'm just clicking and drawing and what masking does. So if I just go to B, C, B for a clay buildup, is it protects that part from getting sculpted upon. But you can also use it to like split off and masked points and things like that. So declare a mosque, click and just drag on the side here. And now we can actually use a. So if I just hold shift and maybe turn off perspective and grab this corner. So if I hold down control instead of free hand, we want to use the last Sue. So to start off of the mesh, start dragging around in a circle and I want to add some bit of jaggedness in the and so this popped up. I might want a bit more. In this add to the mask hold and control can also subtract from the mouse if you hold Control and Alt. So if I wanted to subtract this pot, I can do that. So I might just do that. And now what we can do is go to geometry. Might actually be sub tool. So we go down to sub2, split, split, masked points. So if you are unsure whether you actually want to, I might actually be a good idea to duplicate your base matter. So if we just duplicate this here, we'll have another one so we can, in case where you wanna go back and we don't actually like the result of it. It's a bit hard to just merge the two pieces back together. So if we just keep a clean version of it and we can just click the I to hide it so we don't get confused. Click on base mesh one split, split mosque points. And now we'll actually have two cases here. But you'll notice there's a big hole here. And one of the benefits of using DynaMesh is that it actually feels holes for you. So if we hold down control, while it's nothing is Mollusks, don't. We just This again, it will DynaMesh it again and fill up the holes for us. So we don't want to DynaMesh. After we've edited a bunch of tiny details and stuff, it does a good job of keeping the sharpness of out of that edge we have. If we do obtain many times, it'll start to get a bit blurry. So I just want to click on this mesh and do the same thing. So we just hide this one. Right-click. Not we're actually hold down Control and just drag of nothing and it will make a mesh here. So this one looks a little bit. You can see this an error is around it. So my try another way. Just press Control Z. If we go to geometry and then modify Topology, we can probably do a fill holes operation. Close Holes. That it might be the data. And it's done a pretty decent job. So this is 1 where you might actually want to use the smooth tool. Because you can see our edge here is like insanely shop and there's no way we're going to be able to grab any edges. So if we just start to smooth it a bit, we'll be able to soften that edge, as you can see, to become a bit more manageable to sculpt the bone. So I'll just go through and smooth this out. So I'm just holding Shift and dragging on the mesh to do that. So that's smooth. And then if we go back to this sub tool, this one's pretty fine as is. So now that this is smooth, we can DynaMesh it to make sure, like as you can see, we've got some strange topology going on here from now. Close Holes, Close Holes, just DynaMesh that. And now you can see everything's pretty much the same. The all knowing what the different colors aren't means that are in different poly groups. And you can actually like split from poly groups as well. But we don't need to worry about that. So now if we show both that meshes, I'm just clicking on this I here already. We have some cracks forming. So to enhance that, I'm going to actually do some of these edge with the smallest scale to enhance the look of that chip to look. So I'm going to hide this one. And then b t be semi bold is. And if, if you don't have enough points, you can just press Control B to appear as that. Or E can also in your Heavier and you'll DynaMesh up the resolution. So we had about 300 before. Full mesh can try bit higher this time. Doesn't seem to be working. Hello, DynaMesh. I might have to modify the mesh a bit. There we go. So I just do quick little smoother if it's not responding. And then DynaMesh it again and see we got 80 thousand points this time, that might be better. And now let's get to sculpting. So you've all seen this before. Too smooth borders and just have at it. All right. So there you go. That was the first way. Hopefully that elbow tap. The next way is actually using an Alpha stamping brush to add some imperfections. So I'll show you how to do that. You can see if I just go to Brush S and then T, I think you have a standard. You'll notice we have alpha and there is currently nothing in here. Now. You can upload your own. And alpha is just a black and white image where black is. It doesn't affect the measured all. And then white effects the mesh the most. And then gray is in-between. So I'll includes the alphas that I use in the project content. And we can actually use an Alpha to stamp on the shape of likes, some cracks and things like that. So if you have your own use, go to Alpha, and then you go to import and select the one that you want. Okay, so I've just imported my alpha. And we wanna make our Z Intensity pretty low here. So Z intensity is how intense the brush, it is. What it says is how intense the browser, like pushes and pulls your models if added to a 100, you'll see, yuck. If I have it down to six. And also what you wanna do instead of dots, which is like just a regular stroke, you want to go to drag a rectangle. And so what this will do today, actually stamps it on your model and I'm just clicking and dragging it out. So you also want to make sure you're on the standard brush here. That'll just push it in and pull it out as normal. So as you can see, our resolution is pretty shocking. Now, for details like this, you do want our high resolution. So usually when you're working in ZBrush as well, E up the resolution as you need it. So right now as we're actually just putting in these logic details, we don't need it that much. So we can save this for a later step. So once we actually are in the final stages of model where we're adding some noise and some of those stamps. We can add those in if you happy with how it looks now and what added in now, just subdivide your mesh up a bit and then you can add those in. So the other thing I want us to do is you'll notice that L model is like just perpendicular, straight flat everywhere. So I wanted to use our magical clay buildup brush to add some spots where I'm mesh is actually up in places and also down in places like it's been eaten away. And then you'll notice it looks pretty guys now. But if we come in here with maybe the trim dynamic, we start to beat up a mesh smooth and just tapping away. We can start to get some interesting surface imperfections. So one handy tool will handy thing that I notice that you can do is you'll see there's these little divots that I have. If I hold down Alt and I click on this high place, and I drag it over here and sort of levels it out. So if you find that you get some of those, That's a little tip foia. You can also try using the trim smooth border on here. It is much more harsh. You can also, if you press V, You got the Move brush. And you can actually just stop pulling your mesh around a little bit so that it can be a little bit not so perfectly straight and oh, lovely doubly. So we want to pull it around, make it a little bit, little bit Genki. So I'm going to get to New and go through and add a few more of the surface imperfections. Okay, So we've added quite a bit actually of like surface imperfections. So we are making like a pretty beaten down sort of, let's say you like an abandoned concrete block, something like that. So next we'll probably have to go through and tighten up some of this edge where that we've done. So I just sort of going over that again. And then next we can probably get into the sort of surface noise. And that'll stop to just tie it all together. So what that is is like tiny little surface detail. And we'll also get those alpha mosques in as well. So some cracks. And then we might even play around with the rendering settings in here so that we can export a nice looking render. So pretty short, less than this one. But hopefully this was a pretty good introduction to just getting you comfortable with the program. But anyway, I'll see you in the next one was stuff will start to come together a bit more. Just 5. Micro Details: Hello everybody and welcome back to what will be the final lesson. There will be a bonus lesson oxidase, which will sort of show you how you can actually use the similar techniques to make a different kind of asset like a plank of wood. So in this one, we might well, we've, we've got some pretty good surface details going on. We've got a pretty beat up look in starting block. And the next thing we want to do is add a few more surface details and then the micro details. So I set this details using the Alpha technique that I showed you last lesson. And also we'll be adding some surface noise. So first thing we want to do is actually combine this sub tool and this subtotal because you remember these actual different objects. So we still have L, L base mesh two. But anyway, so if we click on this sub tool and then we can go to merge and then merge down. Let me press Okay. Now these are in the same object. If you ever want to split them up again, you can go to poly groups and you can merge similar to make this submersible. I actually just click on Auto Groups. And so now we have this green group and this grey group here. And then back in the sub tool, you can split two pots and that will split this and this. Anyway. We don't want to split it. So what we're going to do now is you'll see we have around 200 thousand points. When we're using alphas and noise, we will want a lot more fidelity than that. So we might press Control D to divide, and now we have about a million and that's a good place to be. It's now, if you remember, we go to alpha and I go to Import and named Paul the one that I provide in the project description thing, in the resources. That's okay. So o you can input your own as well. So I'm just looking for one that's like sort of we can add some cracks in. Okay, So I've imported this. We got like a little crack. And then if we go to drag rectangle, and then we click and drag on our mesh, we have some cracks. So you can see this is pretty deep and we don't want it to be. So I would use the web and noxious I suppose, can be a little more subtle. So to make it more subtle, you can decrease your Z intensity here. And what you wanna do is just add some suggestions of cracks around the, around the place. So I'll just go through and do this. Alright, so I've added some cracks in. May have gone a little overboard, but that's okay. So now the last thing I want to do is at the surface detail. So to do that, sorry to do that. I'm going to go into surface and then click on noise here. So you can see what this has done is it's added all of this tiny little noise. And we can change the scale here. And we want to go for something pre the lodge. And you'll think that looks pretty disgusting. But then do you want to change the strength to be pretty subtle? So we can add multiple passes of noise. And I'll show you why we do that. So in this first PaaS, we can go for something subtle like this to get some surface details in there. Then you can even change this grid to sort of these, this is like a levels grid. Levels curve. And say if I increase the sky, increase the strength, you'll be able to see what's actually happening. So when I change this code like this, it sort of has stronger pots and weak spots in the noise. So once you have something kinda like this, I'm maybe a little beak and then that, yeah. So when this noise as well, you can isolate pods by masking them out. And so they weren't actually be affected by the noise. But we want to cover the whole thing, so we do that. And then you just want to hit, Okay? And then if you stop moving around now, it will say that this noise is actually not like applied to the measure, anything that's not real yet. This is just a preview. I'm pretty show you how to apply mesh, applied to you mesh. Then it will actually apply the noise on, into the actual geometry software. You apply that noise, we can add another one. And then we want to go to Edit and say this one will be a bit more. We want to separate it out. A little mall can increase the scale. So this one's going to be our largest lot of pokes in the in the stone. Let's look in pretty decent risk. Drag this point down in the curve so that we get like a harsh edge around these PECSA. And then we can apply that to mesh. Nice. And it will always be the preview that's just based on your resolution so you can make it higher resolution if you really want to. And then I think I might just add another noise on top. And this one will just be like a regular wash of noise. So before you apply, you can still edit your noise. So this is looking a bit too much. So when you mask out points, you can actually define where you want the noise not to be. So if I just add some random splotches and I apply it to mesh, you can see in these bits that new noise less than actually placed. And then we've got, we've got a pretty good destroyed look in Pisa. Start like some sort of monolith, wholesome, something around that. So now if you want to get a little render of your item, what you can do is go to BPR and then just click it and it will sort of render it with your settings. And then after it's rendered, you can just go up to document and then go to export. So once you select the location that you want to save it, you'll have this sort of dialogue box here. And you have some options like contrast, brightness, et cetera. And then you can press Okay, no export your image. So to improve your image a bit, you can go to render. And then you have all of these BPR options, which is what this is doing is doing a BP operand. So you can change like you're a 0 subsurface scattering if you want that. Anti-aliasing, et cetera, main thing that I want to do is change the background color. So if you go up here to document, you'll have this option, have a back. And this is actually a color picker. So if you click and hold, it will pick whatever color you like. So let's say if you come down here to your secondary color, you can just pick a color that you like. Say let's go for some, some blue like that. And you'll find that it's changing the color of your mesh. Just use the other color. So if we go to document and we go over here and we pick, this should be able to change. Yeah. So maybe I want this a bit darker, a bit less saturated. There we go. And I'll just get a nice big render about Guy on the screen. See which angle do I like the best? This one's pretty good. And then we click on BPA, render that guy out. Okay, so once that's rounded, you'll be able to say that it's actually up the detail and the quality bits added some anti-aliasing. And like you'll have to render at each time. But if you go up to light here, we can change the direction that the light is coming from. The other thing is that I might actually just want to go with a mat cap wide because we don't need to visualize what I want cavities now. So if I just go to mat cap wide and then I just go to Document and then export bill after I do my little render document export, you have OWL thing here. So we can add some effects. So let's make things a little more. There you go and press. Okay. And now we have an image of L. Nice little render, my sculpt. All right, so that'll do it for this main lesson of sculpting a starting block. Hopefully you learned something. If you want to continue, there'll be a bonus lesson where we use some similar techniques to scoped a piece of wood, wooden plank. Alright, so post your renders down below and I'll see you in the next lesson. 6. Bonus - Wood Sculpting: Guys, welcome to the bonus lesson. This one will just be in one condensed pace and not separated into all the separate little techniques that we use. So once you get comfortable using the techniques, you'll be able to find other places that you can actually use them. So we don't just have to use though is to sculpt stern monoliths. Funny that we can actually use those techniques to sculpt other things that aren't even of a similar surface profile, like wood for instance. So I'll show you how we can do that. So if we just do, the first couple pods are going to be pretty similar. So all the way up to the edge, the hum, it's going to be pretty much the same. So we're back in blender, gotta make another base mesh. I'll provide this one as well. If you don't want to make one side just mesh tube. We're going to scale it up so it's a bit longer. But this time we're going to make it relatively thin because it's a plank of wood. And now press Control a, apply that rotation and scale. Tab control B. That will add. And then we want to add divisions to the bevel scrolling the mouse wheel, click. And now we export this as an OBJ and import it into ZBrush. Alright, so back in ZBrush, so we're just going to click up here and tool and import. And we then pulled it l would. So we're going to click and drag in the scene hold Shift to make it perpendicular. Then they're gonna go to Edit. And now we can rotate around the object. First thing we do, change the material, mat cat, white, white cavities, that is. And now we're going to go to Geometry. Actually, we're going to divide it up first, get about 20 K Pauli's. And then we're going to go to DynaMesh, Magnus bath 300. And DynaMesh, this guy first actually. Oh, did I do it? Let's have a look. Yeah, I guess that's actually done the best usually you have in your geometry. I think it did have for us small ZBrush. You have to delete your lower resolutions before you do that. So this isn't actually a high enough resolution for my liking. So I'm going to press Control D and divide that again. So now if I make this sideways, I'm actually first things first. So I'll show you the technique that we're going to be using to actually make this wood grain. You can make the, the edge width first. Sometimes that's better. Sometimes it gets lost after you do your technique to add the wood grain. So just, I'll just show you how we go about making this wood grain. So if we go B, C, B, we have our clay buildup brush here. So what we want to do now is actually sculpt that Animoto. I just want to add a bunch of sort of lines across. So something like that. And then you wanna go V D S for the dam standard may want to have a bit of a smaller brush. We want to break that up with more lines that go across like this. And then press B t. We haven't loaded it yet. So you get a lightbox, got a brush we can looking for a smooth transmit boulders. So we go to trim. And I got to translate voter. Then with a relatively large brush, you can just sold a tap around. And like bloody magic that it got wood plank. So I'll go ahead and do this fold the other sides of our mesh. You can say we have some issues here where like if I held it to the side, you can see this banding. You can usually get just get rid of that if you just do a bit of some of the thing, you don't want to lose out on out detail that I say, be a bit careful with it. And that is also partly showing up because of the owl cavity map. It's highlighting those little divots it in a mesh. Anyway, I'll go through and add the rest of this on the mesh and then I'll show you the next steps, usually just adding noise, adding an edge where it's at. All right, So we've added in Maine detail pos now, it's up to you whether you want to go in and do up easily do an add in these, this edge. So I just add a bit in here just for some, some flavor. Now you got to see, you can see with the same couple of brushes we were able to make wood plank. Even though what we used last time was while we made last time sorry, with some stone. So I would like to fix up these banding lines. So another way to do it is this. You use your trim dynamic brush since it dynamically changes to the surface. If we just do some little strikes on here, you can see it's already gets rid of it. So that can be a little bit of a tedious process, but it is somewhat helpful. So with combination this and smoothing should be able to get rid of a lot of this banding. Now. So I've gotten ahead and get, and gotten rid of some of it. The last step, of course, a status surface noise. And we can actually add a pretty similar surface noise to our wood. So if we go to surface noise and we want to make it pretty Lodge, who actually want to cancel fs I wanna do is Control D, have a random million points, and then we can make noise. So here we're just adding some detail. Then we can press Apply to mash and that adds it in. Now, Wood is pretty directional with its grain. Say if we have an Alpha of a wood grain, will be able to stamp that on. And it'll look pretty cool. So if we just got to alpha, go to Import, and I'll have this included in the project resources as well. That's, I've got this would alpha that I've imported. And you'll see instantly, I'll click and I drag. Make sure you have your standard brush and you got to drag rectangle. And I drag it out. Bone. Check out that D to L, looking good. And that is that is pretty much it for wood. You can maybe add some nails and stuff if you want to make it a little more interesting, but I mean, check it out we've made would in a approximately if I just check my recording, we've done it about 15 minutes. Um, so hopefully that's helpful in showing you that. In combination with about like 30 full brushes, you don't need to I need to download anything special. Just with ZBrush and using the full brushes, you can get a lot of value out of those. So hopefully you able to follow along. Hopefully you'll be able to make something cool. Post this render too if you want. Then yeah, I hope you enjoy it and I'll see you in the next one. It is.