Learn Zbrush bases Vol 1: Learn Zbrush Basics - Knowledge of software tool | Mauricio García Arias | Skillshare

Learn Zbrush bases Vol 1: Learn Zbrush Basics - Knowledge of software tool

Mauricio García Arias, CG Teacher

Learn Zbrush bases Vol 1: Learn Zbrush Basics - Knowledge of software tool

Mauricio García Arias, CG Teacher

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
13 Lessons (1h 19m)
    • 1. 00 Introduction to the course

    • 2. 01 Zbrush Interface

    • 3. 02 Location and real scale of the objects

    • 4. 03 Creation of 3D meshes and basic movements

    • 5. 04 Moving rotating and scaling in Zbrush

    • 6. 05 Options of brushes

    • 7. 06 Mesh subdivision and basic brushes

    • 8. 07 Deformation panel

    • 9. 08 Masks and masks options

    • 10. 09 Polygroups and tools for hidding the mesh

    • 11. 10 Subtools

    • 12. 11 The symmetry tool

    • 13. 12 Techniques on a real project review

18 students are watching this class
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class


Basic tools in Zbrush / Basics for 3D character development / Brushes / Panels / Polygroup / Masks. 


This course is aimed at people who have no knowledge on Zbrush as a digital sculpting tool. The content of the course is basic and aims to help people becoming familiar with the work environment and learning some essential concepts that will allow to take more advanced courses about 3D character creation.

Course promise. 

This course will let you understand easily the general aspects of the software, in order to quickly start working with the sculpting tool. It provides punctual and understandable information to get started with the use of the software. It serves as a reference material for those who have learned the tool intuitively and require a better structure to work efficiently.


We’ll learn the essential concepts of the digital sculpting tool.
We’ll meet very useful keyboard shortcuts to carry out our work efficiently.
We’ll apply simple procedures that will let us work with structure and in a professional way.

This course is completely free and serves for all those interested in starting the series "Creating 3D Characters with Zbrush". It is a reference material that allows students improve their appropriation of the tool to be able to perform optimally the advanced courses offered by CG Makers.


Meet Your Teacher

Teacher Profile Image

Mauricio García Arias

CG Teacher


Hello, I'm Mauricio.

My passion is to develop and direct high-quality Digital Animation projects and teach others how to achieve the same results. After writing and directing multiple short films and co-producing with Korea, USA, Mexico and Colombia the 1st 3D and 4D Latin American Animated Feature "Jungle Shuffle" and working on projects for brands like Disney, Chevrolet, Suzuki, Nokia, Adobe ... among others. Gathering more than 13 years in the industry, I decided to dedicate myself 100% to teach others everything I've learned, not only at a professional but also at a business level. There are already more than 2,000 people that I have trained and advised hand in hand with my talented work team in more than 60 countries. I want to give you the route and the tools to get you int... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.



1. 00 Introduction to the course: before, starting with the first video of this curse. Let's talk about how the radios are going to be and what are the topics will cover. The curse has basically been divided into 11 videos covering the futures you should get familiar with from the first time you open the U I visited and videos will teach you first . What are the basic windows the brush has got as default and you will understand how the interface has been arranged on the software. In addition to that, you will learn one by one some of the most common and basic tools that normally through the artists you know when creating, there's cultures. After watching those 11 videos, we'll take 1/12 video where we'll see how in the real project each one of the tools covered in the course are used. I invited to participate, then, on the first video 2. 01 Zbrush Interface: Hello, everyone. And welcome to the first video off the Z brush basics curse. On this video, we learn how to the fault interface is when we open Z brush. What are the groups of Windows will use and how they are related to the different aspect on our workflow. First of all, just like other software you've probably already used, Z brush has got a mini bar which is located on the superior part. These bar contains different resources in order to apply them to our work and gain more quality. These mini bar helps us on different stages off our sculpting when creating our files when trading hours cultures when we paying them when we like them. And when we didn't write the final image, which is the one will deliver step by step on. More advanced videos will cover some off those options. But for the time being, let's continue just with the basics. This panel on the left you see here is a pop up window which weaken open or close by pressing these arrows you can see over here as you can notice on this lateral panel, we've got one of the windows that is also available on the menu bar. In this case, toe can be found in both places. However, there is a big difference. It turns out the windows on the lateral panel will be visible at all times. As we work, these will let us work faster and save a little time. Since we wouldn't have to deal with the menus search and select the option we want over here on the lateral panel, we'll always have our options handy. We can bring windows from the mini bar on by holding and dragging. We can add them to the lateral panel. That way we can have more panels available for spitting up our work. However, as an advice, try to leave just the panels you'll need. Don't add panels you won't use since. Otherwise, you don't make you difficult to find the tools or the men used. You'll need in case you want to remove a panel. You simply price on this button located on the upper right portion of the panel, and it vanishes next to these papa panel. We have a bunch of options which will let us interact with the objects we have in our campus. Our combat is the squarespace we've got in the middle of Z brush. It's where we can create our sculptures on his Muslim. These will be our focus area when I say we can interact with the objects. I mean, we can see them from different angles for us to be able to understand and have control over the shape we're creating on this left panel, you can see here we have different options when we create our object, these families for interacting with the object in our compass. But these panel helps us create the object for these explanation. Let's have a look at one of the decision makers boards, which you can find on Pinterest. In this case, this is in a sculpture example, and we have to generate that volume according to the character we want to make or these others culture. For instance, all the details we can see here related to our objects volume have been made with his portion we can see here. We've got some other options, like the texture, the texture turns, how to be kind of part of the painting or the color details will add to our character. In this case, these texts. Your menu works better with images. There are some futures on these character that would be difficult to get my hand. We could pick that the tools as examples. Making these tattoos by hand couldn't play a lot of time while applying a texture. We could simply download an image from the Internet on this particular case as her too on added to the character. It's like projecting that image, projecting our image directly on our character. We've got here the color palette quite related to the painting. Let's see another image in these case for the dinosaur. Not is it's got a different range of colors. Perhaps some of these features have been achieved using textures, however, sometimes thes color. Grady INTs are made through these panels, different towns and blue, pink, yellow. All these corruptions are made through these menu. We've got the materials, the materials are related to the characters look. But in these case is how the character interacts with the light. Let's have a look at another example. In this case, these spheres, each one of these fears have got a different material. Therefore, the light hearing these objects tends to bounds on behave differently for the case of these plastic material. We not is. Although it reflects his environment, the reflections on the surface are quite diffuse. It's not clear enough to differentiate the objects around it. In the case of the Crumb, as we can see over here, we cannot be. The reflection is much clearer. We cannot eat. The reflection is much clearer. We can get on idea off the environment around our fear. That's due to the light behaving in a particular way. In this case, for these rough plastic, we cannot distinguish everything about its surrounding environment. Same happens with the wood on the concrete. These are materials. It's about the behaviour off the light. When it hits an object, let's see some other images. In the case of this airplane, we can tell it reflects the sky to concrete on part of the mountains behind for finishing. We have this panel located under the mini bar. These options are close related to the brushes. It lets us modify the brushes attributes for us to modify our rece cultures in one or a different way on at details from the most notorious after the most minimum. That's basically the function off this option. I hope now you could have got a more clear understanding of how the windows are arranged on Z brush. Don't worry if you feel this explanation wants to, general and you still feel a bit lost as we carry on with the videos, women's studies, some off the windows and little by little, you will get how to use them and in what part of the process they should be used. How do you have enjoyed this video and I'll see you on the next one. 3. 02 Location and real scale of the objects: Welcome to the second video of the curse Z Brush Basics on this video will cover the objects location in the three D space on the exact objects Measurements meaning the rial scale. First the objects location. As you may know, when the thirties pays, we have three axes the X axis, the Y axis on the Z axis, which would be depth. In this case, however, we don't have a sign telling us the access for these objects. In this pace, we don't know if you're looking at the object from a side front or top. In order to find that out, we could use these Baden we find on the right panel called Floor agreed and in circus is shaved P. If we press this button or heat chief to pee on the keyboard, we can see we get kind of a line in our compass in return. Rotate our view in the compass. We just have to click on the name thes pace on rotated. I'm not sure if you can see it clearly on your screens, but at this instance we've got three access in our view. The X axis, which is a red line. The white axis, which is a green line on the Z axis, which Izabal line. Each one of these lines represent each one of the access off our three d space. In the case off the red line Knicks is the horizontal line. Why is the vertical line or the height and Z is the depth line? Reason why If we move the view, you can see the Y axis over here. This is the height it's letting us know at the moment this is the right position off the object. This is the X access. This is the Y. Access on the depth is on own Z, which means we're looking at the object from a front perspective on this case. Taking these same guides, we can say this is the top perspective, and these is a lateral perspective. It's important, know on what access is our object located. So when we use other Softwares along with the brush, we won't get issues on, will be able to work more efficiently. What I've just explained is the elements arranged on the three D space. Now let's talk about the measurement a really scale off the objects before proceeding. I'll give you a quick trick. As I told you, if we click on an empty space off our compass, our view rotates freely. Whoever if we present hold shift, we move on press shift, we move on press shift, we move in press shift. The view will rotate by 90 degrees, meaning very exact rotations in this case for getting back to where we started. First, we pressed on an empty space and they present shift. We get the front perspective now to talk about the measurements. Zebras has got some measurements by default. Ah, units and Z brushes the cable in tow A major. As for other Softwares or one meter in real life, that's house. The brush is set by the fault. How can we get the measurement of this object as a measurement will take the distance between one point or another. In this case, for instance, between these points and these points, what's the distance on this object? How big it is? Those are the measurements on the brush for that information which we use a tool called transposed, which shows up if we click on this button cause move as we can see and I can appears over here called Transposed the same as thes Aiken. If we use this click on Drac app to another point, we concede in the rate of line, this line carries out a specific role, which is the letters Know that the instance Among due to points in this case, we can see on the upper part there is an icon of stating two units. That means from this point after this portion, there are two units or in the real world, they keep island to two meters. That's basically the measurements systems E brush handles on the system you should get used to on the software. This is the measure meant to see brush handles. And once you get the hang of it, you will be able to import objects from this offer toe another one with no problem. I hope these video is useful for you. And I'll see you then on the next video 4. 03 Creation of 3D meshes and basic movements: hello again and welcome to the third video for the curse Zebras. Basics on this video will learn to create the basic through the objects that Z brush provides by the fault and the main tools you can use for interacting with the object you have in your compass. These will let you have a better understanding about the objects you working with on the basis for you to create your own object. To begin with will start creating a three D missions E brush. As I mentioned in the first video, Z Brush has got a pop up panel on the right side, which shows up and collapses by clicking on these arrows located here. These we know over here, called Tools, has got like another little window called simple brush. When you click on this icon with the S shape, it is placed some extra tools for us, as you can see here in the title. These options belonged to the three measures category, their basic to the shapes which are normally available in most three changes, such as fears, cubes, cylinders, cones, among others. We will just have to click on the match we want to create and it will show up on this window instead of the s shape. I can I previously hot. We get a tool we have just selected. But for us to edit, the mesh will have to hit on. Make Pol image three D. As you can see, it's generated an extra copy over here, which can be edited now. Whether we have to do is tow over here, left click on the mouse or he the corresponding button on your digital pain. If you've got one, just click. Hold on drag until you get the object you wish to create on for finishing and be able to edit it. We would have to hit on these I can located in the upper panel below the menu called Edit and it's Charcot is the Tiki. Now that these button is on, you probably have noticed many of these paddles just turned on a swell that lets us know the object is inevitable. Now. This is how we create our basic objects. Now what we'll do is to learn the basic movements all the three D software house, and we can find them in these panel. Over here, the three essential buttons I want to introduce you are move scale and rotate. In order to use these buttons, we just have to press and hold left. Click on any of these three options. Will you start then with move and kicking hold. And as you can see, the object seems to move. However, you should keep in mind that the object is not moving. Actually, it's not moving from the initial point we've created it. What we're moving is how our view port we're well, in some cases, we would say our camera, the camera is the one moving. As it happens in the real world, when you remove camera or with our phone now, in the case of scale, it would be a the equivalent for camera. What turns out to be this function it Let's zoom out and so mean to the object. Unless I explained just a while back we're not modifying the object properties. We're not making it bigger or smaller. We're simply zooming in or zooming out, and finally we have the rotate to, which lets us see the object from different angles for having a better understanding of it . Those basically are the movements. You should learn. However, if each time you have to take the coarser to these buttons, it would be a waste of time, which we should try to minimize as much as we can reason why there are some shortcuts for us to have access to these functions in a much faster and efficient way in order to move an object without the need to press this button, we just have to heat out on our keyboard on holding right click at the same time, or the pain if you have a tablet without having to take the course or to the bottom for a scaling. We have to repeat the same process we went through with Move prison, hold out and click and hold the left mouse button. But by releasing on the out, we teach to the zoom movements. Finally, for rotating, we simply have to present hold the left mouse button or the pain button, and then we can rotate the object. What I've just shown to you here are quite basic, but really important. When we're making our own characters or whatever we're making, it seems too easy, but I suggest to practice for some time until you get the hang of it. I hope this video is useful for you. And I'll see you on the next one. 5. 04 Moving rotating and scaling in Zbrush: Welcome to these fourth video off the curse Zebras basics. On this video, you learned to modify the three measures using the basic tools zebras house available. You learn how to start adding the first modifications without having to use brushes or any other special technique. Recalling the previous video, we had a look at how the great a three D object or a three D mesh in the brush, and we said, We have to enable this button called it next to these button. There are three other extra buttons. Move, scale and rotate. They're not the same We had a look at on the previous video, since these buttons over here, let me modify the camera's position or our three d you part. But these buttons, well, let me modify the objects in our converse. First, let's start moving over object When President, The move button, which has got W as a short cut we could not is an element, showed up on our screen. This element is called transposed and is the tool that allows modified the objects for modifying the place where the transpose is located. We click and hold from a point on the object on drug after whatever we wanted. As you can see, the position of transposed has changed. This allows us modified the object from a different point. Let's think about something here. From the point we first click, it will be the center off the transpose. For instance. If we click over here and we drug it, the center of the transposed will be right here. That means that all the modifications we make will start from this point. If we do it from the center, it would be from the center. As you can see, that been supposed has got three spheres shapes the main one, which is the one we create at the beginning. That one in the middle on the last one. In order to move the object, we have to hover over the inner circle. The ones you see here with that white circle we present hold over the circle. And this time we're moving the object. In these cases, camera is totally still on. What we're modifying is the objects position on. Yet we could use control Z to wonder the modifications we could also used in suppose with the move option differently. So that is Instead of covering over the middle circle, we hover over the circle. At the end, we would be scaling the object, as we wish. And as I told you, if we change the place where the transposed starts from, we come tell the place from where the scale takes place Changes. In this case I'm scaling from both sides of the cube, but previously, if we do that from the corner, it will scale Onley one's height. As I told you, this main point is the place from where diligence post makes the modifications. The other Baden is a scale, and it's sure cut is the E key. If we click on it, let's see what happens in this case, the difference when we scaled by using the tool move as we check previously. This is killing is proportional, meaning the object would lose its shape, little increase or decrease its size. But personally writing to modify its proportions. That would be using scale, and this would be using move. As you can see, it's kind of big change for finishing. Let's have a look at the rotate Oh, by holding click over the last circle. It starts, then applying the rotation. In this case, we have the starting point on the corner of the Cube. Reason why it is rotating the cube from this point. But if we place it on the middle, will not, Is it will rotate from middle. As I told you, we could use the shortcut case, which are W for moving e for scaling on our for rotating. I hope this video is useful for you. A recommended practice. This steps covered in these class today. And I'll see you on the next video. 6. 05 Options of brushes: Hello, everyone. And welcome to these faith video the curse zebras Basics on this video will focus on the brushes settings in order to get a specific details when you make yours cultures. On the previous video, we had a look at the transpose how we use it from moving, scaling and rotating the objects. We used these three buttons up here for enabling those options in the right to use. The brushes will use thes fourth option we have here, which is called Dro Pointer. On its Charcot is the cuchi. With enabling these two, we can see some menus around this area have been enabled. Also, these brush Aiken that's in supposed has been changed for the brush heighten in general terms for working with the brushes, we have six options to take into account, which are all the options we see on this area that works from the sculpture of stage meaning we can generate the objects volume going through the painting, the color look on Finally, the materials how they behave according to the length bounces for the sculpting will work These four options you see here starting then with Zia and seize up Zi AAD Lindsay's up work as follows. Z at enables the option for us to be able to add geometry to our object, meaning it modifies the geometry for generating. Hike relieves when the art is enabled and we select the brush from this list, which will cover on the next video, we will just have to left click on the measure of our object or with Digital pin if you have one. When clicking, we can see how the geometry is modified. In this case, by using Zia, we're generating the hydra leaves. The more strokes we apply, the more we modify the geometry. Z's up works the opposite way. When enabled on waste had a playing strokes, you didn't rates the opposite effect removing material and kind of generating a Fisher. As you can tell, these had quite important tools for us when it sculpting. Nevertheless, you could imagine how tedious it would be, taking the course for over an over again from the sculpture to the panel making us waste time. So that's something we have to avoid as much as possible. Reason why the result Key shortcut for making the process fluent. In order to use it, you simply have to enable one of these options in these cases Z at and they holding out. We carry out the opposite effect. In these cases, we are removing geometry from the mish. It works the same when we enables these up in these cases room removing geometry, and if we press old, we start adding geometry. As you can see, the second option will work with will be intensity. These option modifies the strength of a brush. When a playing a stroke, it'll define how much the strokes will affect geometry. We've applied the previous strokes with an intensity value of 25. Let's increase it to wear the three in this case on, let's apply some strokes. As you can see, the amount of geometry affected in this case is way bigger than the strokes were applied previously. That's due to the intensity. Value is way bigger now, reflected on how the geometry was affected. The fit option is focal shift. Focal shift works the following way. As you can see, our culture has got two circles on internal circle on an external circle. The internal one is referenced to the portion of the stroke. We apply that uses the intensity we've said here in this case, 27. So it's the area where the geometry will be modified. The extended circle. Let us know the limits of the stroke when modifying the geometry, the area off influence. It means the intensity of the internal circle is 27 it gets reduced towards the external circle until it becomes zero. Focal. Shaved letters work with positive and negative numbers. The bigger the number is, the bigger the distance between the internal and external circle, as you can see, which means there will be a range of his movements when applying this jokes. The person that was affected the most. Mrs Muller, That's you, too. As you could tell, the internal Circle got smaller, which is the area where the intensities is stronger and we can see how the intensity is reduced on this area. That's basically what Focal chief is about. We can also work using negative numbers. However, when we applied this jokes, even if we get a much bigger stroke, as we can see, some irregularities show up on our geometry. In these cases, it seems it's got some cuts that is caused by the focal shift in these case since we've made the internal typical too Big Z brush in rates, these irregularities. This is part of the next video, but will use it now when you see these kind of regularities on the geometry, but we can do is to use a brush called smooth. We use it by holding shift. As you can see over here, the Aiken has changed and we start painting over the object. As you can see it smooth. The regularities on our stroke is completely regular. The last option is called drove. Size drove size. They finds the size of our brush. The bigger this ice, the bigger the stroke will apply. Likewise, as mother size for certain futures off greater importance, the options we've just watched apply for the gentle sculpting, I mean, for creating and modifying the geometry off our object. Since this is a basic course, let's have a look at an example of how these options we have here work. However, we wouldn't get too deep for the time being. We'll see what RGB does. Seems it would be a little difficult to understand what these interruptions do at the moment. So for the time being, let's proceed with the RGB Channel. Normally, when we enable this option, what I recommend is to disabled the ad or Z's up scenes is not a good idea to work with these two. At the same time, with enabling RGB channel, we enable an extra panel automatically called RGB intensity. These option is very similar to Z intensity, with the difference that see intensity only works with this culture with the at on disease up, while RGB intensity works on Lee with RGB. Now, while well do is to start painting our sculpture. In these case, let's grab green. As you can see, we are adding some color to our object and also combined them a bit. Deception also works with Droz eyes on focal shift. It doesn't work with C intensity, so in these cases we can increase the brush intensity as we can see. In this case, the strokes are quite blurred. This can be fixed using focal shift. In this case, when reducing the distance between these two circles, the borders won't be so blurt anymore. Looking more solid and continues, there is a shortcut for getting these panel on a closed area to are coarser. We just have to press this pace key. And as you can see, these are the same options we have available on the upper panel. I should mention the colors may vary depending on the material we're using. As we explained on the first video. However, since these are basic curse, we wouldn't go over how to use the materials just yet. I hope this video is useful for you. Other comment to practice with the tools covered in this class, since we will actually use them on the next video. When we use the rest off the brushes, hope you like the video and I'll see you then on the next one. 7. 06 Mesh subdivision and basic brushes: welcome to the sixth video of the curse Zebras. Basics on this video will cover to specific topics. The 1st 1 is a subdivision window, which is in the tools panel. On the 2nd 1 will be the basic brushes you should know when it's starting with C brush. See Brush has gotta several amount of Russia's. However, there are 66 Pacific brushes that work with kind of the same functions as the rest of the brushes you'll find. First, we'll start in the tools panel. Specifically speaking, the option subdivide. Under the truth panel, we find an option called geometry. When you click on it, you can see it pops up a window with a bunch of options. That one we want to have a look toe is divide or so divide mash, which can be accessed with shortcut control day. Let's hit it and see what happens with the with the sphere. Let's zoom in a bit more, watching these case the size of the Parliament. If we hit subdivide, you can see the polygons amount has increased. That's well. Let us at much more subtle. Details. Two hours culture and finish it more properly, depending on the harder your PC has got, see brush, we'll let you out more subdivisions or less of divisions. However, you should be cautious off the use of the subdivisions. There is always have proper workflow to start on the digital sculpting for the time being. For the explanation purposes. We'll just leave it on three subdivisions. We connect with the subdivisions, or we can increase them with modifying the subdivision. You can see a scroll bar, we added on the lower part, If we move it to the left, we decrease the subdivisions until we get the basic shape we previously had again in order to increase them. We just have to move this lighter and that way get the pursuit divisions. We already had, I told you, for generating a subdivision. The shortcut. We could use his control D. However, once we've created the so division's weaken switch among them without having the need to come to these panels in order to the critics of divisions, weaken, just hit shift the on the keyboard. And as you can see, the brush decreases the subdivisions. And in order to increase them again, we press the the key control de works on Lee for creating news with divisions. Basically, that's what If I does on their tools panel now, we'll proceed to the basic brushes. As I told you, there are six basic brushes you should know before that will decrease the subdivisions. The first rush you should know is called Move. In these cases, you'll find it over here. But if we couldn't find it among these options, and if we had to look for it among all these brushes, we just have to hit the initial off the brush in this case M in order to feel for the brushes. In most cases, we use the brush move for generating the basic shape for the structure for the object we want. Great. The brush move works way better with local divisions. Let's go ahead and have a look. Let's increase the size of the brush, and what it does is to stretch the geometry. And now let's see what happens. If I increase the subdivisions quickly. Let's increase the subdivisions to give it a test. As you can see, it takes longer to increase its subdivisions, and now the systems drives to follow the movement. So, as I recommend We better use thes brush with few subdivisions. The next rushes called standard again. We keep the initial on the keyboard. We selected Seiken for the brushes, and we get the brushes Manu on by hitting the initial. We felt the results. The brush is standard is one of the basic rushes for generating volume. I mean, in this case, it lets us at the details to our character could be with different sizes, but in general terms, this is what it does. The third brushes called them standard. We have it here, or by pressing the initial we feed her. I understand their works really well for generating certain cuts. I mean, it lets us create quite thin lines over our sculpture. Let's see, when we modify standard with the drove size option, we could generate something similar. But we get a more polished result using them standard all practice using both brushes them a standard on a standard with different drove size values in order to differentiate what they do. The next rush is called inflate, so here it is inflated works quite similar to standard. However we can tell, the result is a bit different. Using standard it basically works as if it added volume. But inflate seems to actually inflict this culture. It took less time to move that geometry compared to the normal standard. Let's make one over here, and as you can see, it takes less time to generate these volumes using in plate than using standard. But both are quite useful, and we have to start knowing how to use them. The fifth rushes, called Pinch, feels her with P, and here it is. What pinch Let's do is to somehow close fishers or close deep lines. Let's see what I mean. Let's use them standard, then, in order to make a river line like so. And what pinch does is to take the borders off this line and join them up as you can not. Is the Fisher kind of closed pinch is normally used for objects with sharp borders like in the case were making machine. Or maybe unending, for instance, is gonna have very sharp edges on certain areas and pains letters in the rate those sharp areas. Or as I've just showed you, we could use it to close cuts like the one we have here. Those are the essential applications of change. After you keep on practicing with the brushes, you'll find their own applications. But for the time being, these basic rushes will work quite well for you. The last brush is called H polish. If you press h seems, it is the only brushes, starting with age zero Shal dramatically selected age polish basically flattens a surface. Let's see, for instance, let's increase the subdivision on a Djeparov ish will flatten the area. As you can see H Polish hostin generated a whole. In this case, it's simply flattened the area. Let's flatten this on this over here, as I previously mentioned, those are the basic brushes. I recommend you practice at home on l See you on the next video. Where will carry out a little exercise using these brushes? 8. 07 Deformation panel: Welcome to the seventh video, The Curse Z Brush Basics. On this video, we learn another technique for shaping the objects we have in our compass. If you remember from previous videos, we use a tool, smooth scale and rotate for modifying the objects in our campus. We also practiced something Knicks with the brushes. We've learned how to set them up on how to shape the elements off hours culture. There is also an element which lets us shape the sculptures, and it's convenient for you to start using it from now on, since it will help you a lot on your future projects. We find the elements under the tools top, whether from these little panel or from the mini bar, there is some menu called deformation. If we click on it, we get several options on screen. Each element, says a particular waiters called our Object. It's a good idea to play around with each option in order to see what it does and how it affects the sculpting. Let's see, for instance, the option size, which lets me modify the size we could use. It was supposed to on the scale option for currying out the same operation, but it becomes easier to use thes panel. In the case of size, we wouldn't have to bother about placing the transposed in a single place. Apply a scale. Doing this sometimes takes time. Well, if we use information, it could be done way easier. Flatten flatten works really well when we need really flat areas. We could use his polish for getting these results. One of the brushes we took in the previous video, however, as I've just showed you, this is a faster way to do it. Of course, depending on the case, it's better to use a technique or another one we have here inflate, which applies the same mother brush. But in thes case, it applies the action to the entire object. Gravity, perspective, noise Quite useful. Sometimes when we want to create certain textures like rough surfaces or similar, it works really well paper. It basically takes the side of this culture and it squishes it from these lateral view we can see the upper part becomes narrower on the lower part caped its shape twist. So these options are quite useful. I hope it looks all right on your screens. Each one of these options has got the three Axis X Y Z right next to each option. He doesn t t t used to deal with thatched my letters, but we can sit on what access the action is going to take effect. For instance, let's use Ben as you can see Ben in these cases, affecting the object only on the Z axis, which is the only I could enabled here if we disabled Z on enabled X. Let's see what happens now. It doesn't been on the Z axis, but on the X axes. Likewise, we can disable the X enable. Why? Let's see what changes now it bends. The object on the White X is getting in the irregular shape that sometimes we might want to get to create hours cultures. These final is very useful. Try to explore the different options it's got. There are more options but will use them on more advanced classes. I hope this is helpful for you and I'll see you then on the next video 9. 08 Masks and masks options: will come to the egg video of the curse zebras. Basics on these video will study what regards to masks really study. What are the applications and how to use them? A mask is a tool which lets preserve areas for modeling. When we're sculpting when there is sculpting, we could have some areas we'd like to protect from the strokes we're playing on the mish. In order to do so, we used in the masks, you know, to generate the mask. First we have to hit the control key on by clicking with the pain or our mouth left click. We drug it over. Then release the button on Get a mask selected. As you can see, the area which has been masked is darker than the rest. Let's make sure it's working properly. Let's use the standard so you'll notice this area will be protected. Even though I'm applying some strokes. That's the first use masks. Half the masks don't necessarily have to be squared like the one we have here. There are a different bunch of masks we can use for protecting the areas of her sculpture. If we present hold control, we should not. Is these area changes completely. When we click on it, we can see the different ways we can generate a mask. The one we're using. What's a rectangle? We can also use a circle. By holding control, we can again generates the circle. If you hold this pace key, we can change the location where you want to place it. We also have the last option. These musk works in a free hand growing, so we basically drove the mask over the mesh. As you can see, we get the masks shaped as we do it. The more polygons we have in the mesh they cleared. The mask will be in this case. Since our polygons are too big, we don't see the mask well defined. We also have the free hand to with which we paint the mask directly. We can also take the mask off from an object. For instance, we have masked areas on the object by holding control and also out will not is the color of the mask is no longer dark but liked. And when we release it, we can see it hasn't masked the portion of the object. The same method has got the same effects with the other type of masks. We could also invert the mask by pressing the control key and clicking on an empty space. We inverted selection of the mask if we want to remove the inter mask from the object. We just tried to create a mask on an empty space, and after releasing it, it removes all masks from the object. Also, I holding control out. We'll create a mask and unmask our object. As we can tell, it's very useful to work with masks when we're sculpting are objects. Let's increases observations from our object hitting control day. Let's apply one of the masks over here with lasso. As you can see. Now that it's got more polygons, the mask is clearer. The same will happen with the rest of the masks getting more perfect circles way more defined masks. The masks can also be blurred, meaning that we could make the borders to be softer. If we hold control and apply clicks over the mask, we'll see the borders get softer slowly, and when we have sculpt over the mask, we can see the protection of the mask is more effective. Gradually from the list, dark area after the darkest area, which is more protected. The masks have got extra options, however, will cover those options later on through other classes in more advanced courses. So we finished this class. I'll see you in the next one. 10. 09 Polygroups and tools for hidding the mesh : welcome to the ninth video of the Curse Zebras. Basics on this video will focus on poly groups on options for hiding sections of Fars culture. By the end of the video, you learn how to be organized when I'm working with digital sculpting, selecting the pieces you need from yours culture in a much faster way. First, what are the poly groups? The polar groups are tools that let us divide the mash without having to break it or separated in sections. For us to use the poly groups, we can use the tool we took on the previous video, which is the masks. In this case, we'll use the rectangular mask. Before that, I'd like to show you how to identify the poly Group that an object belongs to or a section often object. As we can see on these lateral panel, we have several options on. Among them will use one called Polly F or drove Polly frame. It's your cut is shift F. If we enable it, we'll see all the polygons or a sculpture has got using a specific color. In this case, we can tell the object has been assigned to a single poly grip. Let's hit shift F for having these poly frame. And now let's use the masks. Let's generator rectangular selection. Remember, you have to hold the control key and finally we hit control. W our masks gone. However, if we press again shift F for enabling the poly frame, we can tell the pieces we had masked changed color. That means the sections here now belonged to a different group. Let's keep these poly frame active and let's generate some other masks. In this case, let's use lasso. Let's hit again Control W. We can tell the public group for these polygons has changed. In these case, I've already got three parliaments. We could generate another poly group Control W, and then we get our 4th 1 Another one around here. Country W We might get some really similar colors, but see brush can detect very easily the difference of colors so you don't have to worry about it. These are basically the poly groups. They are told that Lenny divided mesh or the sculpture without having separated into pieces . The second topic is how to hide sections off the mesh. Sometimes if we get lots off pieces in our sculpture. Getting too complex will probably need to hide certain sections in order to work with more ease. In order to do so, hit control shift and start drugging like we're generating a mascot Square shows up on the screen. However, this is square is green, not like when applying a mask, which is at our color once would release it. We can not at this section that was inside the Green square with capes in the three D view while the rest was hidden. The process for creating this is the same as for creating the masks. However, in this case is not protecting part of the mesh, but it's hiding some of the pieces. If we present hold contra shift, we can see more options like the ones we. So for the masks we can use lasso on. This is what we get in case we need to get everything back. We just need to present hold control chief and click on an empty space, and that's how we get our entire it object back. So we had, like, so click on an empty area and we get it back. When we pressed Contra achieved on get the selection method. We can see the mask is not green color. Nevertheless, if we present whole country achieved on out, it changes the red. When doing this, the mesh inside the mask will be hidden while diminish outside, the mask will be kept visible. Let's say as we could see in this case, it was completely different. If we see the mask is green, we hide what is not inside the mask. But when holding control chief out, we create the red masks we had what it's inside the mask and again by hitting control, chafed and clicking outside, we get the entire object back. These methods for hiding pieces off the geometry worked really well with the poly groups. We just talked about Shift F for us to see the poly groups. In this case, we heard country achieved and click on one of the poly groups for us to understand that it's activated the poly frame chief and here we've got all our poly groups. As I mentioned country achieved and click on one of the poly groups. We'll live just the poly group visible as you can see these poly groupies on this side and also on the side of the sphere on when hitting control chiefs and click on the Poly Group. All the rest were hidden living just this one visible. If again we press control shift and we click on the Poly Group We can tell the Poly Group was hidden while the rest have become visible. And if we keep doing the same, we'll hide the Poly group with elect like over here, this one this one on this one again forgetting the object back control shift That's how we can use the poly groups for hiding sections off our mesh. I'd recommend you follow these steps since they will be very useful and I'll see you then have the next video. 11. 10 Subtools: Hello, everyone, and welcome to the 10th video of the Curse Zebras. Basics on this video will focus on Settles. Settles are the tools that will let us organize the geometries we have in our canvas in a more efficient way for us to work with Maurice having us reference what we took on the previous video about the polic groups. The subtitles are quite similar, however, the main differences about the following the poly groups work on a single geometry. I mean, we take one is culture and we divided into several parts. The circles on the other hand, working files which contained more than one geometry. Let's imagine the case of a machine which has got pipes, wires, lying's bulbs, those sort of things. Placing all of them in a single canvas would turn out to be quite complex for us. Since we if we modify one object, we could take the risk off. Modifying another one is spoiling our job on the process, but we can do is to take each off those elements and separate them through something similar to layers layers we could enable and disable as we please, letting us have a much farther workflow extract is then with the Citadel's Over the tools panel. Above geometry, we find Soto. When we open it, we get a new window. Each one of these pieces over here are subtitles. We could use whatever we can add. If we click on this button called the Pain, it opens the panel where we could find the soup tools. The same we find a both. Nevertheless, in this case, if we add it, let's have a cylinder. We can see It's not a new object, but it shows up a number over the icon of the three Mish in this case, the sphere. That number of percents, the Suttles we have inside a single file in these case, we've got to We could move along one and the other one to work with Maurice. We could disable them in this case, the cylinder, or we could enable all of them. Whatever we doing a salto one effect at all the others we could use move and as we could not ace the other soup to wasn't affected at all, we could add moors of tools by hitting a pain. These cone, we select the layer and as you can see we've got three sculptures or models totally independent. The subtle panel has also got other options because rename an object these other names by the fall. But we could change the name. We could duplicate the objects. We've got this cone. If we hit abdicate, it'll create a copy. We could delete some tools. Okay, among other options, I won't cover for the time being. Since this is a basic curse, which one of these totals have got the ability to increase the subdivision? If we hit control day, as you can see under geometry, we cannot. Is its cultural subdivisions already? We could increase it to three in the case of the sphere will also set it to three subdivisions. Let's just add one subdivision to this one. If we selected to, we can check. The divisions are independent, keeping all the characteristics off each took to. As you can see this up tools panel, it's really useful. I think this is it about this video. I heard you practice these symptoms panel since it'll make the process faster. I'll see you then, on later videos 12. 11 The symmetry tool: Hello, everyone, and welcome to the 11th video of the curse Zebras. Basics on this video will have a look at one of the most useful told Cinzia Brush. Since these two, let's a safe a lot of time. On previous videos, we worked with several tools which are useful when it sculpting. However, now these two, which is more complex, we can use something quite important. What if some of the features we create on this face we need them to be exactly the same on the other side? I mean, when we are fire stroke on one side of the face, the other side should get the same stroke. It's a very important matter, since if we had to apply the same strong on both sides, that would take us a lot of time. And it would be really frustrating for us. Lucky as zebras has got a very useful tool, which basically reflects the modifications we make on one side of the object on the opposite side. In these case, let's make a modification on these character. Let's use a standard. A clear example would be what if we need these future I'm making over here to be exactly the same on the other side. The tool that zebra's provides can be found in a transform panel so far on previous videos we use the tool panel, however, in this case will use it. Transform Panel on for practical purposes will take it. So these area among the options for veterans from panel, we find a very useful one called Activate Symmetry. It's sure cut is X. It would let us do the following, as you should have noticed. Now we've got two dots on the screen. One of the dots is surrounded by the cursor, as we could tell by the two circles around it. Nevertheless, the other thought is isolated. That dog is the symmetry dot If we're playing a stroke on the side of the sculpture, it'll be reflected on the other side. For instance, if we had to our volume toe the cheeks, we can see that what I voted on the side was also added on the side as well. That's a symmetry function. It doesn't only work on the X axis. As we can see, it's got different access options we can use. In this case, it wouldn't be useful, but for others, symmetrical objects, cube or a sphere deceptions could be very useful. Symmetry has also got some other advanced options. However, I consider we better make use of these options on later on more advanced videos. So as we can see whatever is done on one side, it automatically applied on the other side as well. I hope this video is really useful for you and I'll see you then on the next video, which will be the last one for these cars. 13. 12 Techniques on a real project review: Hello, everyone, and welcome to the last video of the curse Zebras. Basics. This video will be a bit different since we're going to go through a review off all the tools we covered on the previous videos. We'll try to apply them on a kind of a complex project, this time on this culture I was working with for the game fast career out this year. First, let's review the tools panel on all the options. Seat offers options We had a look to on previous videos. Let's start with a suitable option. I mentioned that for complex court projects, the most recommendable is to use different objects located in different circles. That way, the job could be done with Marie's. As you can see, these project has got eight soup tools. The head eyes here. I love directing that an abandoned soup, too. In order to have a more stable workflow. I've also used the geometry panel. At the beginning, I didn't have all these subdivisions. All I hard was something like this. Like what you can see here, I only started adding subdivisions we need the West required when I needed so more details for creating my character. I didn't start adding, also divisions available, since that would make the jobs lower and caused lots of problems. If I had started adding so many subdivisions, I would probably have lost time since I fixed on a low subdivision level could affect a lot the details on Tigers of division level. And that's something I should be really careful with. Reason why I only out of divisions when it is required for those times when the product got too heavy. I normally take the subdivisions to their minimum so I could move the interface faster only for the case. On whatever I was working with, I applied the high guests obliteration level. But I kept everything else on the lowest subdivision level for working faster. Obviously, I also worked on the Reformation I mentioned those options are really youthful. What, in a special, for instance, for making these pores, I used the noise we find below here. Under the Formacion panel, I will give you a little demonstration on these area. I used mosques for protecting certain areas. Sometimes when the measure is to having it is a little difficult to control. But let's try. This was the process. I made use off the base I used for starting to create the pores and things to the masks. I could protect certain areas. Reason why the head over here is clean while the pores are set on the face. As you can see, it's good a good texture. In some cases, when I didn't need the pores to be so prominent, all they had to do was the press shift on a different brush shows up here called smooth. What it does is to smooth areas. As you can see, Sievers doesn't remove the details it's in. Please move to the surface. It looks like the pores are being removed, but it's actually making them look really Satel, as you can see here, there really saddle. That's the method I implemented tow. Avoid getting all the face filled by pours. I just wanted some areas to look more prominent than others. I started this a sculpture from a sphere on what I have done, for instance, to generate the job for the head. It was to use Taper in order to compress part of this culture I used to mask for protecting . Let me show you Here I had to set the right access in these case, ANC's, and then I started resizing the shape. Using this technique, I was able to make the job off course. I could have generated this shape by using move. But as you work on digital sculpting, you'll find your own way to generate the shapes you desire. I also use the brush is a lot. You might be able to remember the basic brushes I showed you along a couple of previous videos. Those were the six brushes I used for creating these character. Let's see an example, these lines here of the wrinkles. As I told you, by using them standard we could create, Um, what I did was, well, apply some irregular strokes, and when I got to prominent cuts, all they had to do was to apply pinch. As you can see, we get more realistic wrinkles that way. Are you different values for intensity size? Sometimes I add a geometry. Some other. I removed it depending on what I need. It I used inflate a lot in own these wrinkles. As you can see, it provides some extra touches. The same over here as I worked, I used the masks a lot you could not is this file is quite complex. Sometimes I fix the ice and it spoiled the eyebrows or is spoiled part of the nose, the wrinkles. So what I used to do it was to create a protection mask and then they proceeded to sculpt without spoiling the protected areas. If we check the poly groups at the moment, everything is part of Ah single poly group. Nevertheless, as I worked and I separated the mouth, the eyes, the years, let's make a little test. This way I could paint an area on the three review could run smoothly for these head. As I added polygons, it became too complex to deal with, so it was useful to hide sections of the sculpture. For me to be able to paint and sculpt the poly groups were really useful in this case. On this video, I will show you all the thing Knicks I used for generating this character. Whoever I wanted to show you that I used all the techniques cover in the curse and how they were applied for creating this character. I really hope you can take advantage of these classes on this course they may seem to basic , but they truly are fundamentals for creating a sculpture. I hope you keep practicing. Make use off these knowledge for generating your own projects. Continue learning and practicing a lot. You will have to practice a lot in digital sculpting if you want to get really good results , but it'll worth it in long term hope to see you soon coming. Curses wishes success on your learning process.