Learning Zbrush from Scratch | James Leiske | Skillshare

Learning Zbrush from Scratch

James Leiske, Skillshare

Learning Zbrush from Scratch

James Leiske, Skillshare

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78 Lessons (8h 1m)
    • 1. Promo

    • 2. Welcome

    • 3. Before Opening Zbrush

    • 4. Starting Zbrush

    • 5. Tools and Projects

    • 6. The Zbrush Interface

    • 7. Navigating Zbrush

    • 8. Using the Gizmo

    • 9. Advanced Gizmo Features

    • 10. Undo and Redo

    • 11. Camera Settings

    • 12. Common Brushes

    • 13. Brush Settings

    • 14. Symmetry

    • 15. Brush Size

    • 16. Smoothing

    • 17. Inverting Brushes

    • 18. Alphas

    • 19. Subtools

    • 20. Importing

    • 21. Splitting

    • 22. Merging Subtools

    • 23. IMM Brushes

    • 24. Custom Insert Multimesh

    • 25. Curves Brushes

    • 26. Extracting Shapes

    • 27. Live Boolean Mode

    • 28. Boolean Mesh

    • 29. Transpose Master

    • 30. Editing Text

    • 31. Folders

    • 32. Selections

    • 33. Working with Masks

    • 34. Making Polygroups

    • 35. Polygroup Selections

    • 36. Gizmo Masking

    • 37. Advanced Masking

    • 38. Masking with Objects

    • 39. Intro to ZModeler

    • 40. Adding Edges

    • 41. Closing the Holes

    • 42. Polygon Extrusion

    • 43. Polygon Bridges

    • 44. Splitting the Points

    • 45. Zmodeler Polygroups

    • 46. Zmodeler Impediments

    • 47. Subdividing

    • 48. Sculpting with Division

    • 49. Subdivisions Negatives

    • 50. Dynamic Subdivision

    • 51. Creases

    • 52. Starting DynaMesh

    • 53. DynaMesh Sculpting

    • 54. Combining Objects

    • 55. DynaMesh Imperfections

    • 56. Using Sculptris Pro

    • 57. Sculptris Pro Features

    • 58. Sculptris Pro Brushes

    • 59. Materials

    • 60. Painting

    • 61. UV Layout

    • 62. Spotlight

    • 63. Noisemaker

    • 64. OBJs with Textures

    • 65. Deleting Parts

    • 66. Mirroring

    • 67. Clay Polish

    • 68. Clip and Trim

    • 69. Filling the Holes

    • 70. Deformation

    • 71. Morph Target

    • 72. Decimation

    • 73. ZRemesher

    • 74. Exporting with GoZ

    • 75. Export to 3D Printers

    • 76. Multi Map Exporter

    • 77. FBX Export

    • 78. Thank You

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About This Class

Zbrush is the all in one solution for your 3D modeling needs. You can texture and paint and sculpt to your hearts content. The features in Zbrush almost seem limitless. Mastering each one could be viewed as an impossible task by some. However, even if you're a beginner I promise you that this course is one of the best ways you can learn all about Zbrush and what it can do. In this course, I will teach you all the methods and ways of Zbrush in a simple way that is easy to understand. As I show you the techniques I will experiment and work with the features I am explaining. Most importantly I will show you the way the professionals work and how to use Zbrush to make any 3D model you could possibly want to create. 

What you'll learn

  • Importing into Zbrush
  • Working with Primitives
  • Subdivision Levels
  • Sculpting in Zbrush
  • Using Materials
  • Zbrush Painting
  • Working with Polygroups
  • Understanding Subtools
  • Using Meshes
  • Learning Dynamesh
  • ZModeler and ZRemesher
  • Move, Scale and Rotate
  • Applying Textures
  • Brushes and Custom Brushes
  • Exporting and Rendering

No prior knowledge is required to watch this class.

Meet Your Teacher

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James Leiske



I’ve invested years in learning the fundamental theories behind what I teach. I'm a zealous teacher that strives to bring students to a high level efficiently, with simple, easy to understand concepts, built on rock-solid theory. When you learn with me, you’ll learn well, and learn efficiently. That’s my promise to you.

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1. Promo: either. This is Jake. One day Jake had an idea. You see, Jake is an artist, and artists always come up with ideas. Jake loves to sculpt, and he admires artists like Michelangelo as his inspiration. One day Jake found some cool software. It was called Z Brush, and he installed it. Jake was happy. Jake's idea was to take his sculpting skills and Jozy Brush to make three D sculptures. Jake opens. He brushed for the first time. Jake was surprised at how complex it waas. Jake kept opening Z Brush to try to learn it Time and time again. Z brush befuddled Jake Jake got tired of trying to learn Z brush, so there's even sat in his computer. It just sat there on his hard drive. A dream unfinished, a dream. Never realized 10 years. That's how long it took Jake to learn Z Brush. Unfortunately, this is a really story, and someone very skilled with sculpting in real life wished to sculpt three D models on his computer using Z brush. Alas, he found zebras so difficult to use the each time he opened up the program, he got overwhelmed, and that trend lasted for 10 whole years. Things got better for Jake when he finally invested in a course to teach him how to use E brush. Hi, I'm James. I love Z Brush. Z Brush is the all in one solution for your three remodeling needs. You can texture and paint and sculpt to your heart's content. The features in Z brush almost seemed limitless. Mastering each one of can be viewed as an impossible task by people like Jake. It is sad when so much potential artistic endeavors and money is left on the table due to the harsh learning curve. I have spent a lot of time creating a course that will teach anyone Z brush from scratch. I start from the very beginning and go till the end where you will attain pro like status. I teach you all about importing into ji brush, working with primitives, subdivision levels, sculpting NZ brush, using materials, working with poly groups, Z brush painting, understanding sub tools, learning Dina mesh Z bottler and zebra measure using meshes, move scale and rotating brushes and custom brushes, exporting and rendering a plane textures. If none of that makes sense to you, don't worry. You can learn all about it in this course. So let's get to Z brushing in my new course, learning Z brush from scratch. 2. Welcome: Hey there, my name is James I ski That will be your instructor for this course learning Z bus from scratch. I've worked a lot making this course learning Z brush from scratch, and my goal is that this course will be a total beginner friendly course, So you will be able to learn Z brush from scratch throughout this course. If you have any questions whatsoever, let me know and you can email me or message me and I'll be sure to answer your questions for major questions. I can always add new videos to the course to enhance the course experience. So let me know about those major questions as well that you think I didn't totally cover in the course. I will also be adding new videos for new versions of Z Brush as they're released. Thank you so much for joining this course. I hope it's a five star experience for you. And let's get dizzy brushing 3. Before Opening Zbrush: in this course, it will be shown you how to use Z brush from the ground up. It is a total beginner friendly course. You don't need any experience in Z brush before this, uh, course to excel. That being said, though, you can be having a knowledge of Z brush to quite advanced extent and still learn quite a bit from this course. So thanks for joining me in this adventure, and I will be showing you the hot keys that were used in C brush and I will be explaining in detail the terms and actions I take. So, yeah, this is a great start for a total Z brush beginner because of explain each and every detail as they go. So I want to explain a few things to make your your experience a total breeze. So you should use a tablet. A mouse just feels really clunky. And I don't know of any people that you see brush that use a mouse. Welcome are welcome. However you say that a welcome style drawing tablet works best. I have a really cheap one and it works good for me, But believe me, it is better so much better than a mouse. So when using a welcome style tablet, what you want to do is change a few settings. That way you can optimize it for your Z brush experience. This you should do before even opening up Z brush So you want to do is you want to navigate to the search bar in Windows and just type W A. This is assuming you're welcome. Tablet has been installed already, so just click on Welcome Tablet Properties and this window will pop up in the pen settings . There's some things that work best, and I would like to point that out now. So the tip of the stylists is important. It's the whole point of the tablet, no pun intended. But there's generally to other buttons. Aside from the tip of the pen, the one further away, Uh, this one. I like to sit that to right click so you couldn't click there, hover over clicks and then click right click and, uh, the one in the middle. So there's the tip of the pen, the furthest away button. So this one, the one in the middle I like to set to middle click. So you want to do. It's just click there, click on clicks and then over permitted click and click that if you set the buttons in this way, the pin can use the same buttons that you use when using your mouse. It makes things a little more simple that way. So another thing that needs to be changed is mapping now, depending on the monitor. This might display differently. However, you need to force proportions. So you need to cook on mapping and then come down here to force proportions, clicking on force proportions. This forces your screen and tablet to have the same size as each other. Can you see that there? My, uh, visual graphic of the tablet on the screen are changing, and so when it's ticked, force proportions, screen and tablet have a 1 to 1 relationship. This feature is especially important if you are drawing, say, a circle entry Z brush. If you had forced proportions ticked off your circle very well may become a an oval. So quick force proportions. Lastly, and very not least important. You, um, generally used Window Inc will be on. What you want to do is turn off with those ink buddy fall, It's on, uh, with music can cause if your strange little effects here and there and that could get distracting. So you need to untech Windows Inc. So with that, we have our welcome tablet all configured optimally. We have the pen having right click on the top middle, quick in the middle and click. Of course, for the you can't change that click for the tip of the pet under mapping, we have forced proportions and we have Windows Inc turned off. So with that, we're ready to open up Z brush. Thanks so much for watching this first video. Let's continue. And in the next video, we will be open up, see brush and begin to learning Z brush. 4. Starting Zbrush: hello and welcome to the first video of learning Z brush from scratch. Hope this course is very helpful to use. We brush is a very powerful software, and I'm used to do some amazing things. There's three D objects and games and movies and people use, you know, three objects from the software in an endless number of applications like three D printing , for example. However, learning it can be a bit different can be very un intuitive and sometimes just a general pain to work with. But today I will hopefully help you with one of the biggest hurdles that you will be presented with when you first open Z brush. So when you're new to this software, you could open it. And this is freshly opened Z brush right here. And you can look at this and be like huh? What do I do? It could be unclear as to what to dio. This is because for for many reasons, but the main chief reason of all of this is zebra started out as a painting software and you'll see very soon how that confuses things. Um, the three D sculpting software part is now the feature obviously that is used most. But, um, Zeros likes to remind us that it was as a painting software since the beginning. It's like an annoying cousin that always is there. No. So the main thing you might notice when you first started Z brush is this sort of browser or library of assets. This is called the Light Box. With this pop up the light box, you can scroll around and you can find different templates to work with. And it's the recommended, um, way for a very complete beginner of C brush to work with, because you can just double click on one of these items and you can start editing. So, however, there is another way to load up three D objects to start editing far more adventurous, and I will show you now. So let's begin this exploration of Z brush. All right, so to make lightbox go away, you can press coma key on your keyboard person. Komaki can make it come in and go away. Alternatively, of course, you compress the lightbox button there, having lightbox successfully minimised uh, now we can see the screen. And you might be thinking now that the canvases available thinking. All right. Tend to use the three d sculpting on you looking at this. Know her? What the what is this? Pixelated boxes. Yeah, I love the parish. Okay, um, joking aside, though, you know, for complete beginner, this is really confusing. And I've actually seen comments where they said this feature and not being able to figure out what to do has kept a person back for years, Believe it or not, said for years, they open up Z brush now and again. They looked at this and really have no idea where to start. So this is why you bought this course. You're not one of those people. Obviously, this is the two d part of the brush, and it is default. Z Bush likes to remind us always every time start z brush that there is this two d future and you know, to fix this to be able to three d sculpt, you need to first give it of this mess. So you do is you go up to document first document and then you go down and pass New document? No, a problem toe. Appear asking you if you want to save this wonderful to D art. Do you want to do that? I don't. So I'm depressed. No. All right. The two d r is destroyed. You can no longer infect us. Our brain is clear. So with this new document is opened, it has cleared out all that other two D stuff, and it extended the canvass all the way to the edges. Here. That's very nice. Extra screen. Real estate. Now to get a three D object to start working on, you might want to upend at Primitive to put it into more simple terms, drag a shape into the canvas. Upended primitive means your pending a primitive, which primitive if you look it up, the definition of it as it relates to three D Sculpting is a basic shape, so just think of primitive shapes. So what to do to upend a primitive used to go over here to cylinder three D. So quick click on cylinder three D, and this spring's up a pop up, which has a bunch of options of primitives and so we can do here is oh, cook on. Cute As you can see now, Cube has replaced the cylinder there, and you have to remember. This button right here is the one activates the, uh, option pop up window. Now that cube three D is selected. It's the tool that is so effective you need to click and drag in the campus so no anywhere else. Put your cursor in the canvas, click and drag and release the click. Now Freeze. Do not touch anything else. This is like super important. You need to go into edit mode. You can't Actually, I was sure you do control Z. So what? What you might typically dio is click and drag and you have your career been and you're thinking, Yea, however you might be thinking, are now gonna sculpt. Oh no, What's happening? More cubes cubes? That's control the Z All that. So let's go back to Step one. You click and drag released the click and you have your cube in the figgy scene. Now what you need to dio is now go into edit mode so you can take your cursor up to edit and you compress, edit or you compress t on the keyboard. Now you're in edit mode. This edit button needs to be orange. True edit mode. Wasn't that little Ventress was fun. It can be a little scary, but, uh, what I recommend you do and utilize is the light box. And you know, it's a little more easy when you first begin. So to make lightbox visible, of course, you can pass, comma or click the light bucks button. And what you do is you just double click on an item and we're not going to save our cube, and it will load the object that you double clicked and everything will be ready canvas and edit button. So instead of this dude here, I'm gonna go Teoh, we're gonna go to a sphere here to get the basic shape here. Um, let's go to this dynamic spheres a double quick on dynamic sphere. And now we have a dynamic sphere open. You just need to be aware that lightbox will replace whatever previous active scene you had open. So if you're editing, you want to save the previous scene, make sure you save that. So if you really wanted to save the cube or the other dude that we opened, you just click Yes, instead of no and that will save it. And you can save um, it, like any other software just into your up yours folders. I recommend you create a special folder for Z brush things and your projects. So yeah, this wraps it up mainly for this video. Um, this is the first road block that you will hit. I hope this video what's helpful to you? I hope it cleared up some confusion, but talking serious Some comments I read online. This is a true roadblock, and it has halted people for years, believe or not, from being inspired to work with c brush that whole two D situation and just being able to drag in three D objects into the canvas. So if you are at this point, if you know how to do this, you are every two years ahead. Let's on move. Let's move on to loading tools and opening projects in Z brush. Thanks so much for watching this video 5. Tools and Projects: as per usual Z brush has some surprises up its sleeve. Opening in saving projects is more complicated than that, and then just opening in saving projects. In this video, I will show you how to work with tools and projects. I'll explain advantages and disadvantages of tools versus projects. The word tool in Z brush used to mean any three D item that you would take into your two D drawing. Seen to help you create your art tools. They used to be a way to modify your two D art by having some three D models in your to do yard. You can kind of think of fuller Shop how you can have three D in your to do yard, but because of this ancestral technical blew up. This makes all things confused. Sometimes tool in actual fact means file in. Any other program will be called file, but NZ brushes calling to says, going pick a tool to open in our workspace. A tool can be thought of as a scene or a document. Let's get a quick common or keyboard or lightbox button and get rid of late box, and one thing would be for reload or tool. I think I'm gonna just, uh, great new document away loads of my campus, nice and large and click Load Tool. And this head here it's found in the resource is of this video. You can download it, work with it, or you can work with some other tool. Just clip open and you have your head here. So it tools, basically you saving your three D model. A tool is a three D model and all of its parts. So if you go to sub tool here, it's like the layers of photo shop or something. You have the eyes of your head, and that's kind of cool, So tools are very useful, so a tool is your three D model, but it doesn't save all of your document settings. Later, we will explain how to do that in a project. In order to use a tool, we have to click and drag it onto our scene like we did in the last video. And one tip I like toe talk tell myself, is to freeze and t before anything you have to click the edit mode to edit. Otherwise, problems will have been liked. Show show in the last video. So now we have our three D model loaded into the canvas. If you look to the right, you can see the toolbox, the pain here. And so this is two blocks pain. It showcases all the tools that you have loaded up. You can load more tools in here. Each tool you load will create a new special icon for it in the tool pain. If you like your tool, though. So you have been working on his head for a while, and so you want to save your tool. You can go up here and you can click Save. As so I say we made some changes. We can go to this and save it as our head number two. As you can see, you can save your tool anywhere on your computer. Like I suggest you have a folder for all your projects in your Z brush on your computer somewhere. So how? Let's take another little adventure in Z brush, and we've seen what tools are and what to do. Now let's look at projects and see what projects have to offer us. So if you go to your lightbox by prison, comma or the lightbox button, you have lightbox open and you can see here, Um, you know, there's tools, button brushes, button and click on Project that has a bunch of projects for you to choose from. So for this video is just click on any project that Pixar interest. I'm going to click on the dog. So double quick something you want to do is you need to save your tool that you had been working on. If Electric Tool. And, as you can tell, we saved it to the desktop his head to so we don't need to save it. But let's press cancel for now, and I'm going to show you something interesting. What we can do, we can copy, Tool. And so now we copied our head and let's go back to light box and let's give it to this dog . Don't click on the dog and we don't need to save the head Zari suit or desktop. So we're not saving and so we can see. Is it now opened to stock in this tool pain. We can now see that we have this dog in our tool pain. Something interesting, though, with, uh what I've been showing you is we have our old tool. The head in our basically the clipboard memory of See Bush so we can do is quick paced tool . Like I said, that's not say you've been working on this head for hours and you copy and you open up a new project and you close and don't save the head project. It's best to save it, but it's just a handy way to transfer a tool that was already in your canvas to a new project. Just copy and paste it. Now you can see the head and the dog are in our project. So what if we want to save our project? What you want to do is you're in a quick file, and then you can, uh, just quick save as and so what's its name, this dog and good. So now we saved our project. Projects are going to save. All of the information that you have worked on, is going to save all of the tools in the toolbox here, the dog and the head, and is going to save the document settings. It's going to save the canvas size and is going to save the fact that you're in edit mode, which is kind of nice. So let's say we're making our new tool and way have grown to hate our old tool. We love this dog, but we hate the head. We'll get it was quick on the head and, uh, to delete the head. Just click on sub tool and with your pen stylist, Just click and drag up so you can see what's down below here in the sub tube, pain or pellet, and just click on del all. Okay, so there's a warning here. This action cannot be undone. So I kind of I want to repeat this. This action cannot be undone. So I've been working on this head for a while and you want to delete it, deleting it will get rid of it always. So always press OK, I don't always okay, because I want to be alerted in place in case I select something that I didn't mean to. So Okay, so now we've been sent to our published are and we can see here in the tool pain project that there's no more head because we deleted it. The old tools gone forever cannot be controlled Zied back into the project. And we only have our new tool, the dog and also the cylinder and punish three D star. Personally, I like working with tools. I have to go through the little pesky steps of going through that two D editing, self remote clicking edit mode, changing the document. But I just like working on one tool at a time. And projects, in my opinion, are a little more cumbersome. But it all comes down to personal preference, whether you like to work with a project, houses, bench tools or just your tool and save your tools separately. So, yeah, it really all comes down to personal preference. And But if you can't decide, I suggest you just work with tools. So that wraps it up for this video. Thanks, Moz, for watching Man. Let's continue with the course in the next video 6. The Zbrush Interface: So to get the most out of this video, you should have A three D model loaded up edit mode is needed to be activated for me to show you all the interface items correctly. So if you don't know how to go into edit mode or load a tool Maher model, you should seriously go back a few videos and watch how to do that. So let's take a tour of Z brush. Let's take an adventure together. See Brush has many surprises, and if you're not careful, you may be surprised and caught off guard. I have been many times, so we have already talked about this. But if you press the comic, E lightbox will pop up. Of course, you can press lightbox button on that will do the same thing, and you explain this a lot of detail already, but it's basically a library of assets already built in to see brush in the light box browser. You will find different folders and different projects here, and so there's tools or crushers. They're textures alphas. You should not, uh, think about this too much right now, but for the purposes of this video, I'm just talking about the interface items. So this is lightbox and all of these things. And these these plethora of items we will learn about later. So it's a cool zebras trick that I will show you. Now If you see an interface item and you wonder about what it does, all you have to do is ah, hover over it. See here and it's explaining, um, giving you a little bit of information when you hover over the items. However, you might be thinking, How how does that help me? But if you press control, ah, larger pop up will appear, explaining in detail what the items do. Very nice. Just hover over and then hold control down. Yeah, it does basically for every item, and I'm pretty sure that's how the our ancestors, the Z Brush Beginners years ago, learned how to do it before there was software training. But thankfully, now there is courses available, so let's talk a little bit about brushes. If you want to open brushes, of course, you can press the brush button, but also and more quickly you compress the B button in the keyboard. I definitely prefer just pressing the B, but B for brushes. There's a gazillion brushes in Z brush later in this course to explain in further detail all about the brushes that we will be using that some of these brushes talking serious don't even need. But and of course, you can customize make your own. But that's way, way later. So it was. Stick to the subject at hand and, uh, talk about the interface. So let's actually, uh, continue with brushes a little here and let's pick up Russ. Let's pick the chisel, chisel Russ the brush and you know it's here when you pick a standard brush. There's no menu here, but when you pick the chisel bus, or if you pick like I am, that's standing for insert multi mission. Be parts fairly self expand tour de parts, body parts, feet. See various parts of anatomy. Pull in there. Let's just go back to standard brush. There's menus for brushes with sub brushes and then brushes without some brushes or just brush without that menu there. So if you're feeling like a pro and you want to Seymour of the canvas, uh, just personally tab will make the interface go away and display the canvas in all of its glory and goodness, it will provide you with more space to work with. So are basically more, um, or clean environment to work with. If you are tired of seeing a bunch of buttons, I honestly I never working tab mode. Maybe if I am taking a screenshot. But that's what rendering is for, Um oh, and while in tab mode, you might be thinking, Well, we're How do I work? So just press and hold space bar down, pressing and holding down space bar. Well, being up this little pop up here with interface items, let's go back to normalcy brush. So let's take a look at the most common items available to you. Below the brush button is, ah, a stroke button for various types of strokes, and below that, I'll explain more of this and later so don't right and then blew. That is alphas, and though that is textures and textures, Utkan have various textures and you can apply to your brushes and below. That is materials. This is an important button, so typically there's this red material. I like working with that cap gray, but it's good to work in different types of materials because then you can see your model in a new light basically, and sometimes it helps you sculpt and blow the materials button is a color picker, and below that is a primary and secondary color interface item. So if this is feeling a bit overwhelming for your please fear not just keep watching and later on I'll explain all of this in extreme detail. This is hard work. See, Brush is hard work and no, you'll be happy later on having watch these videos and memorized all these interface items because then when you're working more advanced later on, you will know how to work. So up here we have RBG intensity and this is basically if you think about it a pass ity, they could photo shop opacity. RBG intensity is the color capacity. Basically that comes in handy. And over here we have Z intensity and this is for brush. Brush is when you're working with brushes. This is controlling the intensity of the brush. And you know, I'll explain this in detail later. Yeah, but it's super useful. This is the intensity. Physically it determines the strength of your brush. So think of like, uh, cliffs versus hills or something. So this is all the way Cliff. This is all the way flat and in between is like a hill is going up, up, up, up until a jagged cliff. So that's a good way to think of it, I thought. And so over here we have draw size, draw. Size is self explanatory. It's the draw size of your brush. You can even see it here going. You could press space bar quickly, change your draw size. It's very nice. It's nice to have something in C brush that self explanatory like that because that's not always the case. Over here we have active points, basically active points and total points are the vergis ease on your model. Total points. So sees the total overseas only model and actor points are the active overseas on active sub tool. So if you're quick on sub tool I have here, the head has 100,000 plus and but in the eyeball, its 2000 bucks. Yeah, that is active points and total points. And for the nerds out there, vergis ease and geometry is each angular point on a polygon. You don't have to memorize that. But so I mean, skipping over some items here. This is because I found some of these items are actually useless in three D sculpting or, of course, later detail. Uh, an item in correct context. Uh, so, yeah, so let's move over to the right side here. These buttons right here. We have perspective mode, this perspective mode. You can see changes. The models look quite a bit, and it's very important Tool when your sculpting, often times it's good. Teoh use the perspective mode on and off change between different materials. Yeah, that's the perspective of button. And then below that is a floor button. You can see a floor appears great ice, and so next we're going to talk about the frame. But so if you press frame, it brings up the model front and center. So assume back out here, and it's, uh, like that pressing the frame button. But alternatively, F key also brings up the model front center. So say, for example, you, uh, had this model go away over there and you're thinking, Dude, how do I edit this model? Just press F, and it brings everything front centers right nice. So let's take a look at the furthest to the right interface. Here. Don't get overwhelmed. And you can always re watch this video. When starting. See, brush. I had to do that lot rewatch things. So the most commonly used item here, obviously, is the tool. We've explained that already a little and see brush knew this by default. Tool is already there, but many are docked here. Tool is a menu item, and it's docked as a pellet. So you can think of this as basically, uh, pallets and menus or the pallets. And this whole area is a pallet area. So later explained Maura about all these menus. But right now we're talking about the interface and how to move around the menus. So say, for example, uh, you have your tool here, but you want to work with some other men. You later, when you know what the menu does, so click on texture. You can drag and drop texture. So now you have your tool, and then also texture up there. So now we have two pallets in our palate area to pellets A menus. Yeah, you can take any menu and docket there it's called Pallets area. And so also, something you want to know is over here you have another pallet area, so you just double click on this divider, and by default you have the brush menu. So if you don't want the brush menu here in this palette area, just drag and drop it over to the right side, but its first. So if you want it, they click their or you want to do it, cook it and it will go away. You have to be careful about that because, you know, if you click and hover is like, huh, I'm gonna move over, Know that deleted it so, uh, quick like that. But for now, it's closed that divider most of time. I keep that side closed, and, uh and so you can see there. I pressed F to bring my model back because for some reason, it went off into the distance. Ah, so, yeah, I think of think of this little icon as a steering wheel and you're taking your ship of menus and docking at it. Pellet Port of vision. So the steering wheel can be destructive, though, like I said, just click on it and it will destroy your ship. Okay, so if you want other menus here, just click and drag them in. And you can have as many menus doctor as you want in this pal area. So, yeah, this is the way I like to work with C brush to keep the left menu minimized. But like I said, it's all about personal preference. And you, If you had a bigger spring screen, you could actually have both men use open as well. And it's whole philosophies, videos, all about tutorials about how to set up Z brush. But right now I'm just working with vanilla See brush, and I will explain that with you because that's what you will be working with. So that is it for this video talking about the interface. I hope you understand Z brush just a little bit better now and no more about the interface later, of course, as we work, who explained more in detail, But that's just no overview. So thanks for watching this video. Let's proceed to the next lesson 7. Navigating Zbrush: Z brush is a bit different than other three D programs when it comes to navigation on the canvas. Uh, it's just a bit different. So if you have become familiar with working with other three D programs and navigating around those programs and prepare for a slap in your face, no, no, All joking aside, it's not that horrible, but we just have to learn Z Russia's ways. So the most common way to navigate around a three D space is to orbit around your three D model. Think of birth as your you know, your stylists that you were working with and for the camera style was controls the earth, the camera and the sun is your three D model. So your cameras orbiting around your three D model you can orbit around your model is simply as clicking and dragging around it in an open space around your three D model like this. So you right click and you could just orbit around your model, so that's simple enough. You can view your model from any angle in this way, so this also could be done by pressing and holding the rotate button in the lower left here Instead of right click, it's left click. So rotating was easy, right? Things become just a little more complicated. Let's taken adventure together in Z brush If you want to pan around, you need to hold down Ault. And while holding down all you can pan around your three d model releasing all well, then zoom in and out. Um, so hold down all pan around, releasing out zooms in and out Really seen right click and then right clicking again Well, then go back to orbiting. So all turkey is useful for penning or mainly for panning around the, uh, three d model. All right, so zooming we saw zooming with bulky So you press I'll hold down all key and you can pan around But then, if you release all key while still holding the right click, you can zoom in this way. But what if you went unless, uh, complicated way So you just control key and right click, and you can zoom in and around in and out. It's a little more simple than the cult right click Really salt situation. I generally just used the control, so that's that's that and also, uh, zooming also has a button so left click on this and you consume in and out. It doesn't matter which direction up or down our just basically, this is the original. And if you out, it zooms out. And if you go this way zooms, uh, in same with going up goes up, you know? So up here, anyways, you get the point. Zoom three d button also is useful. So another feature I love in Z brush is the snapping feature. This, in my opinion, is see brushes, glory you can snap to view while whole orbiting around your three D model in the space by a cooking shift. You saw that, So the shift key will snap it. So you're orbiting around and you just fresh shift and it goes so and this will snap to any of these angles, like like like so And so you're going here. It's like, how do I know it's a perfect snap? It's no snow. So it's really it's really good way to orbit around, uh, well, to snap into these perfect angles. I'm sure you will be using that all the time, because I do. And it's nice to get a perfect snap when needed, and it will do every Ortho graphic angle in that way. So what about tilting the camera? Life gets just slightly more complicated. First, you hold down the shift key, Uh, and then you click and hold on your stylists, Mind you, it's the right button, and then you release the shift key, and now you can go back and forth like this to tilt the camera. And in this you can also do the shift to snap to these goods as well. So let's go over this again. Hold down shift right click. Or, of course, the right click button on your stylist, a release shift, and then you have the tilt in of the camera. Okay, so the frame button we've gone over this, but you press the frame button and it brings up your model front and center, and the sub tools is another topic, So the frame button works for each sub tool. So if you select this these little tuners here of the violin and you pressed frame, it'll then frame to the tuners. But then, if you just like the big vital in by itself, will go back to the violin, and also you compress the F key to, um, go to frame alternately the frame button or the F key. So now you can turn the floor on and off by just pressing the floor button here. And as you can see in this particular model, you the floor, The violin is actually standing up like that, and that's the floor. But of course, there is different planes. So if you hit on the floor button here, if you concede e these little microscopic you I so the four is technically active, but we turned off the floor grid Now to the right here, this little button, that's the, uh X. And then, um, here we have the Z, so we have the Z axis, the X axis and the Y axis. So let's turn everything off here. The Y axis, the X X is and the Z axis. And now we have all these different, uh, views and floors. But generally I just have the floor on if that so for the most part, I usually just keep it on the white plane. This, you know, the the grids are helpful, Of course. In turn, all these grids on if you're tryingto do something exact, but I generally just keep down the white plane or I just turned off and it as it's in the space. So that wraps it up for this. Navigating in the three D space and Z brush. So I hope you learned a lot. Now let's take a look. Look at the next video. 8. Using the Gizmo: in this video that we're going to be talking about a feature in Z brush that we confined in most other three D software's. But in Z brush this feature this tool, this this way of working with the three D models is called gizmo. Of course not all software's called cola is gizmo, but they all look very similar. Have even played some video games with gizmos when you're placing three D objects into the game world. So yeah, so what is a gizmo? This is a feature that helps you move, rotate and scale objects in your canvas. Z brush packs some more advanced features for their gizmo that we will be going through in this video more advanced compared to other Softwares. So first to start even using the gizmo, you must first well, load up a model. So I'm just going Teoh, open the light box here and I'm just gonna double click on this demo head here. So now we loaded in this demo head unorganized, right? So to even use the gizmo, we first can need to go up to these buttons here, move, scale or rotate, and it doesn't matter which button actually press. All of them bring up the gizmo. I don't even know why they have three separate Button's move. Does rotate, rotate? Does move and scale does rotate moves. So I don't know why there's three different buttons, but it is only to click on one of them. It'll activate gizmo. And so this thing right here is the gizmo. When you have the gizmo activated, it could now be used. Obviously, cooking and dragging on any of the arrows here will move the three D model, as you can see. So we moved the three D model up and down with the green arrow. So that's the Y axis. I'm just pressing Control Z to undo whatever I do there after demonstrating it. So X axis with the ex with a red sari, rid for the X X is and then the blue for the Z excessively. All right, so that's that's what the arrows do. Very straightforward. Most other Softwares have that as well. But see brush. There's also another feature here on these white arrows on the corners. They're actually very useful. You click on any of the white arrows and, uh, they will move the three d object relative to the view of the camera. So you can see here it's moving here, relatively view of commanders, Control Z, and then we're gonna move to this side and you could see now it's moving like so relative to the view of the camera. So that's what the white arrows do. Another feature that is nice. Is this yellow square in the middle? This is for scaling the object. So you just click drag in and out to scale the object. Yeah, so also to stretch the object. That's what you used these ah squares for So for the y axis the green square, not the arrow, but the square that will stretch it up the Y axis and this red one stretching it there and the blue will stretch it out there. So, yeah, I'm control Z for all of these because I don't wanna keep the changes, but yeah, he's stretching features for the squares. Those really nice. And so with this gizmo tool, you can also rotate on any access you desire. But also, um, first I'll show you, just like the white and grey arrows that turned white. There's ah, great circle around the whole gizmo that turns white here, and if you click on that, it will rotate relative to the view of the camera. And so, on the X axis, this red circle does that the green at at the Y axis for the green circle and the blue the Z axis. Yeah, so that that's what the circles do. They rotate cooking drag on the circles. So in C brush, there is actually to gizmos. Basically, this one's the new one. And then there's an old one. So the old World is called the transposed line. And to activate the trans pose line, you just click on Gizmo three D, and it turns off gizmo three D, and now this weird looking one is called The Transposed Line. So to use the trans brilliance line, you need to click and drag from one point to another just like this, so click and drag. And now we have the transpose line going from the top of the head to the bottom of the model. So the only really useful feature nowadays for this transposed line is to measure. Um, you can see here there's two units basically long, actually. No, this is this is a unit. So it's like a unit and 1/2. Actually, you can see up here in the quarter one point. So basically your unit in half, but also these Ah, it's like a ruler. Basically, you can measure, So that's transposed line. That's what I use it for. And nowadays, the gizmo is much better to actually move the object round. So one thing you have to understand, though, is when you activate the transposed line, it will change the position of the gizmo. So when you go back to gizmo three d you notice here this gizmo position has changed completely because you can see here we moved the transposing over there because most goes over there and moved transposed line over here. Good smoke goes over there, so yeah, let's go back to top there. And now the gizmo is the top. All rotated differently. So what if you used to transpose line to measure the object? But now, of course, you need to use the gizmo again. So to change back the gizmo to its original position, all you have to do is Brett press cult on, you know. OK, so, uh, first of all before anything we have to see. Uh, okay, there you go. So up here you have the gray icons and now this is very important feature. Press all and hold all down. And then you compress this home icon and it will move the gizmo back to its original position. Persall again. And now it's moved the gizmo This kind of like recycle circle or whatever Reset mesh orientation, cult click. And it resets because no, back to like, it's starting position. So when you press Ault, it only effects the gizmo, and that's very important to remember. Pressing all only affects the gizmo. So say, for example, let's do what we did before again we did the transpose line and now the gizmo is different . You're thinking, Oh, I wouldn't put the gizmo back to its positions. I pressed home up. Now the whole model has changed. So controls the that and yeah, so pressing Ault resets the gizmo only not the model. So with this gizmo you can have multiple sub tools selected. So that's just open up the sub tool pilot here and you see, here there is the head and in the eyes and teeth. Um, so if you go on the gizmo here in the icons here, if you click this icon all the way to the right here now, basically transposed, all is selected. These three. Ah, it's basically a little tiny graphical indication that all the sub tools are selected. If you that's like just just have one, it will have one sub tool. But if you select that now, you have all the subtitle selected so you can see here. Now when we move the model around, it's moving the eyes and the head, whereas if we were to have it off, it would just move ahead. So that's a very useful feature. So say you had multiple sub tools available in your model. What you want to do is so say you had, ah, eyes and then the teeth are different and then you had your head, but you wanted to just select the head. What you do is press control shift and click on the head. Now you can see the eyes are kind of disappeared basically, and it's graphically indicated that you have selected just the head because for sure that the eyes and teeth are like great out for capacity in a weird way or something. Um, And so to inverse selection, you just control shift and click on the canvas. And now only the eyes are selected. And then control, shift and drag and the release, all of it, And that clears all of the selections. So we're getting towards the end of this video. But gizmo has more powers. The powers of gizmo do not stop here. Gizmo is a titan in the Z brush world. Gizmo rules. All gizmo can be positioned on specific regions of the model, kind of like we saw when we worked with the transposed line. But of course, you have to use the transposed line to change position of gizmo. So say, for example, we wanted to move. Move the gizmo to the top of this head instead of, uh, in the middle There. What you can do is collect select ault and click. And now you can see the gizmo has moved to the head. But also you can see that the gizmo has been orientated to the surface of the model. So that's cook on the here and now you can see the gizmo. Uh, now orientated to the surface of the model forehead orientate ing to the surface of the model. Yeah, number ult home reset. So now the gizmos back to its original position. Now things are well, so that's pretty much it for this video. That's the powers of gizmo. Um, maybe if you watch the video a few times, you'll learn. I remember the gizmos, all of the detailed features a didn't totally memorized the first time I used it. But meditate on the wishin imparted onto the Understand the ways of the gizmo. Just kidding. But that's the lesson for this video. I hope you learned a lot. You can scale, rotate, move objects around, and this is the way you will be doing that in Z brush. Thanks again for tuning in and let's proceed to the next video of this course when you are ready 9. Advanced Gizmo Features : in this video, it's going to be a level up from the last video. We're going to be digging deeper into the powers of the gizmo. Of course, we need to first work with a model for this video. We're just going to be using a light box project. So let's just work with this demo head. Here we have our head, and it has sub tool of its head and eyes. And, of course, we need to have gizmo activated so quick on any one of these buttons. Move, scale or rotate. Now we already One feature that was not explained in the last video was the inflation feature. This is sometimes an advanced feature, so let's explore how to make our characters feel puffed up and swollen or emancipated. To achieve this, you need to hold down control and click and drag on the yellow box. So hold down control and click and drag on up, see how it's becoming swollen and then vice versa. You can make the model feel emancipated, so that's that feature. You can swell up your characters or make them emancipated. Like I said, so you can see how this feature can be used for many things when making your three D model . The next feature that will be discussed in this video lesson today is how to make three D primitives. Three D primitives are the building blocks of three D forms. There are the basic shapes. Well, if do is, look up the definition of ah three d primitive, and it will tell you that. So, just like drawing, you start out with bacon basic shapes, and then you refine your shapes with details later on. Of course, you can create Primitives that traditional route, but gizmo has this feature hidden up its sleeve. So to achieve this, you need to click on the gear icon here. Let's do that again. The grey icons above Gear Icon. When that is clicked, a pop up will appear, and from here, you can click on any primitive that you like. Let's try, uh, the ring three D. So with this, you can see it replaced. The face we're working out with this is not always a great idea. We can undo this later, but for now, let's explore more so you can see these near invisible cones here. Um, no. You could see them. Okay, Um, generally, if the model is of a similar counter color, they could be slightly invisible. So you have to worry about that. So if you hover over your mouse over the cones, you can see a little more info about what they do. So there's scale. There's radius, there's coverage. Divide, divide, twist all these different features no to make to make these cones a little more visible. And, of course, it depends on what model you're working on. But to make them a little more visible, you should turn wire frame on, and later, in this course, we'll explain all about wire frame. But for now, it's quick shift F, and we now have wire frame loaded eso. Let's explore with these cones. And basically, if you pull this one, let's see what this does, Okay, it does nothing if you pull this one. This one is, ah, radius. So it's making a bigger radius, and then this one is dividing. So that is like subdivision levels. It's like very basic shapes there, and then it's becoming more and more more more subdivided, and this one coverage There we go. That's what that one does, and divide. This one's doing the subdivision levels from the opposite direction and twist that one's. You know, you can really see what it does because it's a ring shape. But if there was some kind of, uh, do Dad on the top there, it would twist around on this donut it. So that's interesting. You can see that one twists it around the other one increases and decreases subdivision levels from multiple angles and a whole bunch of features with these cones. So if you were happy with your final result, you can click on the gear icon again, this orange, it's orange. This time just click on it so you just want to click on it and then you want to click gizmo three D, and now it's back into the gizmo three D mode, and the new primitive that you made will remain, uh, so, like we alerted to before this ring shape that we brought in with a primitive feature will replace the previous models. You have to be really careful about that. You don't want to be working on a face for hours only to have gizmo destroy your work. So in order to work around this. You should duplicate the model that you want to, um, work with That way it replaces the duplicated model and not the original model with its primitive powers. So each primitive has its own up. And then, of course, let's demonstrate that little. So I'm just gonna go away back here to the beginning. Now we're back to her head, turning wide for him back off by shift F. And so now we have our female head here and to duplicate, we just press duplicate. And so now we have the defecated female had just click on the gear icon, and we're back to the ring ring here. But it's smaller than the female head. So, uh, we can make the female head invisible so we can see it. And of course we can. Now add it are ring here. And then, of course, when when, uh, we like our changes go back to gizmo three d mode, and now it's in there. And then we could make a head visible again, and you can see on the cheeks there the ring is showing up. So if you like, yeah, so you can see all that works now of course, then you can delete the ring by going to eat, and now we're back to the original state. Bring gives my mode back in. Each primitive has its own personal and special settings to work with. No primitive is actually created equal of many shapes and sizes. There's a lot of diversity, so let's play a little more around with the primitives. Um, go back to her head here and let's go and select the cylinder. And so now you can see what the cones do for the cylinder. There's really a lot of things that you can dio you can select, um, sphere and see what sphere does. But your subdivision levels for the sphere, and that's basically what that does, but yeah, so now just go back to the head again. So primitives there's a lot of primitive settings in the best way is to just explore. Figure out what all these primitives can dio that's making primitives with the gizmo. Now let's adventurer onwards and forwards and see what other things we can do with the gizmo. And so the gizmo has a thing called the former's. They're all these buttons here, tons of D Former's and the D formers could be used to change shapes in the gizmo. And I suggest you not worry about all the names because it's not, I don't know eventually might member I some of these, but I don't memorize them because no, I can't memorize every shape and what they do to every, well, every two former and whatever you do. Former does to every shape. So it's just pressed the former and see what it does. No. Okay, so let's bring in the ring three D again and let's go to the former spend our could see what Ben Dark does. All right, so that just moves the ring three d and then that moves it around like a wheel. And what is that one radius? That one? Oh, that was very interesting. That's like Now it's like a pipe on an angle there. And yeah, Whoa. So there's tons of, like, literally tons and tons of things. You could do it. These things. Let's go see what cylinder does with the level off sea level. I understand what bubble is. Okay. Wow. So at tons of things and quite literally, the best way to learn what these reformers do is to explore and see. Brush is adventure, so there's many surprises and fears along the ways. So once you're deforming your shapes, you compress the gear icon to make the changes and go back to gizmo three D mode like we did before or you compress reset, and it will reset it back to the original shape that you brought in with the D former. Yes, there's tons of do formers. Yeah, the best way explorers just to explore by, you know, exploring. Bring in a primitive exploring all the different performers that didn't see what it can do . So in our final act of this video lesson, we need to learn one final truth of the gizmo puff. The pin icon is a sticky mode, so let's click on the pen. You can see it's highlighted there, so what the pin does is it brings the gizmo into a sticky mode. So if decide to move the gizmo like so it is. So let's demonstrate that again. You move the gives bow on the model moves, but then the gizmo backs goes back to its original position. You never know what kind of applications this could be used for tons of things in the rush that you can do. That's what the pin mode does. Uh, this mode is, of course, purely personal preference. Uh, it might be helpful for some kind of long shape on some kind of model or something. And so let's look at lock mode. It's click on luck. Basically, luck is the same as pressing Ault. So right now it's unlocked. That means it's unlocked from the three D model. And if you press luck, it's no affecting the model. Yeah, and so unlock home look. And so you may have noticed that pressing Ault is the exact same thing. See how when I press her salt, it unlocks and locks for me. So I just suggest you used the keyboard. Ah, command for that instead. Well, that is it for this video. I hope that was a little fun for you. Gizmo has powers, and and it's the best way to move the models around in your C brush canvas. I mean, it's the only way and has mother secret features up its sleeve. So that's with that. That's for that video. And so let's now proceed onwards to the next video 10. Undo and Redo: Let's talk about the undo feature in Z brush. Undo, of course, is a very standard feature in software, and we become very used to it. If software does not have undue, it's completely behind in schedule, a mere plugged in the software world. But Z Brush is no plebs. In fact, it takes the undo and redo features up a notch, even though this advancement is also something you have to take a second glance at two in a fully understand Um, let's right now, take that second glance and understand the intricacies of undue in Z brush. So for the most part, undo is the same as, ah, you know any other program control Z. So let's take a look at this model here. We have, um, it selected and let's make some changes here. We're making a nice ball blob on the cheek there. Let's say we don't want that is just control Z, and it's gone. Say we're making the nose bigger. We don't want that. So Control z it is gone. So I don't know if you noticed every time and make a sculpt appear in the there's like undo history. So if I click here on the nose. I am. I'm creating a new broke and there is an undue history involved here. And so where you can dio is instead of pressing control Z a bunch of times, you could just click. They're the undo history number one, and it will go back to Step one or anywhere in between. So clicking on that path, you can drag along the undo and redo history. It's very handy feature I'm sure you will begin to love. There is a Catch 22 so each had a history of edits is stored in its own sub tool. So if you have several subtitles, each sub to have its own undo and redo history stored according to that, it's only on that tool. So let's go over to the eyes here. Now you can see here the history is now gone, but when we go back to head, the sub tool has its history of undoes re under and redo history. So you can imagine if you work on several soap tools at once. You can then select only one and undo one without undoing the other. Now there is one very, very important thing you must remember deleting the sub tools permanent. This cannot be undone, so you must always save your work and read the prompt the pop up before you delete the work . Sometimes you might press wrong buttons or you never know. But let's delete something here. The second pair of eyes go ahead and elite that click OK, and since we already have the other eyes, we don't need those other eyes. So it's deleted. But person control Z or doing anything will not bring those eyes back. They were gone for good. So that's the thing you must pay attention to. So that wraps it up for this video, undo and redo a bit more advanced others, but fairly simple anyways, Thanks for watching. Let's proceed to the next video. 11. Camera Settings: this video is going to be all about the camera advanced features of the camera and Z Bush. So let's take a look at how we can change the camera settings. First, we want to go to menu to access the camera settings. So what you want to do go up to draw and that accesses the the menu for the camera settings and we're going to be focusing on are these lower pallets here? There's a button is called Universal Perspective Camera. This feature, when it is on, is more advanced camera. So turn off. Turn on orange means it's on. And the classic perspective camera is that universal perspective cameras. This. Another thing we want to turn on is perspective. Distortion in turn it on and off, but later alternate on when we actually have to to demonstrate correctly. So there's a few important settings in this menu. There is focal length and field of view. Other three D software's use the same settings. If you are using your camera and Maya, for example, you are the same focal length as in Z brush. See Brush has some nice presets done right here for you already. Another nice feature about the camera now is the undo and redo feature right here. I would say we move the camera to this side of the shoe, but you didn't want that. You want to go back to the exact camera position that you had before. So you were working on something very important from that camera view. Just quick on draw and then go down and quick, undo. And now the camera is back to the position It waas before you. All right, moved it. And of course, you could do, redo and undo. You can do Undo. It's just like the bar up here, except you have to cook, draw on, uh, undo and redo the camera position. So yeah, this is a handy If you're in a few that you love and you accidentally move the camera, you can undo and redo. Go back to the perfect view. Yeah, like if your sculpting here and you accidentally clicked right off the edge of the show, your sculpting wipes. Oh, no. So just, uh, instead of control Z, that doesn't work. You, uh, undo the camera view. Go back to that view that you wanted another great feature in this a universal perspective Camera, the newer camera. So if you want specific views, you can save them. So, yeah, just go to the draw, then you we have open here and go down to the camera settings. But it's not being working with its down below at the very bottom here, a button called store Cam. But there's a situation here. If you're quick store, Cam says, Universal's restrictive mode must be turned on. So you're thinking, Ah, but it ISS. You also need perspective. Distortion turned on as well. And so now you can store your camera view. This is the side. No, more like a 3 3/4 have you? So just click enter. And so now let's move the camera again to this, uh, other side. So now that's, uh, store camera, uh, other side that. And so then Now let's go and view it from the top. Basically, store camera. Top you. Now you have three viewers. You can click on the stored views, and you can instantly switch between them also, so you just click on the store views. Here you can go toe 3/4 you can go. The other very Congar top you, or you can click on these arrows and swipe three between the views that you have selected. So I'm sure you can imagine the many possibilities of the stored views and how they could help you. Another ability that is awesome. His ability to lock the camera So you want to have a specific view locked so you can sculpt without worrying about the camera view changing. You could lock the camera, so to lock the camera, just click on this button. Also, uh, it's right here, so locked camera clicking the canvas to move the camp camera. It's not moving now. If you do, it's moving so locked. The camera is very useful when you want to sculpt without moving the camera. So that was a simple video, but there's a few features that we looked at that off time are overlooked. So thanks for watching this video. Let's proceed to the next lesson 12. Common Brushes: So this video you will need to open lightbox just press comma on your keyboard when but Wednesday Brush opens, of course, light boxes there. And for this video, we're going to be using the demo head female, a project that comes with see Brush. That's what we have right there. And so see, brush is all about brushes. There's tons and tons of brushes in Z brush. Go figure because of the name. There's brushes preloaded NZ brush. And there's Bush's free and paid online. And there is ability to create your own, actually. But don't worry about that right now. Some artists swear by just a few basic brushes that can actually get most of the work done . In this video. We're going to be going over most of those basic brushes, So when Z brush loads up, you will see the standard brush loaded up by default in the right right here, Stender brushes aptly named because it is a very standard brush. It creates a standard stroke, so let's see it in action. That's very standard type stroke. So to load up a brush, you just need to press be on your keyboard, so it's always good idea to learn the different keyboard shortcut commands and Z brush, especially when you're loading up brushes, brushes and Z brush or literal by three key code. Of course, you can always use your stylist quick on the brush button. Go to all the brush stuff. But you know, where's the fun in that? Where is the adventure and doing that? Clicking on buttons. You just do B and it opens up brush. It's very nice. So let us little up a clay brush could be on your keyboard. And then after that, click C C stands for clay and all the clay brushes will be under See, obviously. And but But you have to take a step further and there is 1/3 key. You must press. Of course, you can press the button, but so the standard brush the standard clay brush. Sorry, it clay brush is under this right here. L You can click l on your keyboard where you compress it, but I'm gonna click l on my keyboard. See? It went away so B c l. And now we have the clay are or you could just go quick there. Try to find, see Let's go to see and now we have. But it's just a lot faster to do the keyboard shortcuts. It's now you can see another brush on other than the standard brush is loaded here, the clay brush. Most pros memorized the shortcuts, and as we have seen, that makes it so you can work a lot faster. I have found writing down, uh, shortcut codes on a little sticky note, and pasting it by my screen helped a lot in the beginning, so the clay brush is sort of like the standard brush. However, it just strokes a little bit so you can see here. There's just a slight effect. The clay brush fills in the gaps as well. It's kind of like Clay in real life. Just adds, you know, fills in the gaps. You can add matter on onto a sculpture with clay. In real life, it's it's actually quite nice. So let's go over to the ear here, and let's assume in here a little bit so we can see what we're doing, and it's just put the clay in there. As you can see, it's filling in the gaps so you could actually take the whole ear and basically fill it and make it smooth with with other brushes. Later on the flattened brush you could definitely make it smooth, but as you can see there, we've just filled the ear with clay. But with the clay brush on the year we have a problem. Take a look behind the air. Look at that mess. We don't want that that we're gonna go back to the beginning and delete the changes that we have made their because we all want that mess behind the year later in this show you how to fix that. So let's go to another brush. So let's load up the damn standard brush at damn standard brush just getting so press B and D. As you might guess, it's under D because it's damn standard. And so you can see right there you can click s or the S button or B. D. S damn standard. So what's the damn standard brush do? Uh, this brush is very nice because it creates creases. Um, so it's all right. Let's zoom in on the face here a little, and so make increases helps a lot when you are making your sculpt look at that. How you could make creases. Of course, it looks horrible on the forehead. But you know I'm gonna do this. I will show you all about geometry and divide later on, but just to make it a little more visible, this crease here of the dam standard brush Damn stand. Uh, it's called Damian Standard, but yeah, it's it's really super helpful. That's how you get, you know, the creases of the lips and things like that. So, yeah, the crease brush is quite helpful. If if you use it correctly, can you even exaggerate different effects of the face? Now all the lip is a little more. Anyways, do you get the point with the Damien standard brush? So it's just like a sculpting tool in real life, really, you have sculpting tools that you can make creases in when you're making a real life sculpt with clay and so that I think of the Davian standard brush as something like that. So let's load up another brush and see what that brush could do. The flattened brush. What does the flattened brush do? A wonder Well flattens press B and F and under f category you'll see the sea's press B F, another the F card or you see a The flat brush just took a. Now you have the flattened brush loaded up flatten flattens a surfer service scope like a sander. It will send down the script structure of your sculpt. Of course, this you have to be very careful with that's just see with the flattened brush dues. Now we're flattening around the eye, destroying that. Let's just take the size up of our brush here and see now we're definitely flattening this whole area. It's flat in the ear flap flat. We just got rid of the year anyway. Yeah, so that's what the flattening brush does. It's useful for smoothly, any smoothing things out. So let's look at the inflate brush person be, and then I for inflate and And But if you look down here and inflate, so what does inflate do? Well inflates. And so now you can see the nose is becoming mawr. Circular nature and larger. But eso plate is quite helpful. Of course, you would use inflate to make. That's how this nose was probably made. The inflate brush. It's now we have a completely different looking character because the noses a little bigger . But get rid of those changes. We I don't want that. So is that's what the inflate brush does. So another brush that we're gonna look at is cold snake cook, So B. S and let's look at Snake Hope down here. See, it's hard when you are looking at the buttons, um, snake hook there ago. So it's a lot. Users do be this h and you know you could, since I don't remember things well, I use those sticky notes, but if you're able to remember things well, it's a good idea toe. Just memorize those keyboard shortcuts. Really nice. So what is the snake hook Do? It pulls things out so you can make a really weird looking horned creature. So that's what the snake hook does. And if you just use it gently, you could edit the nose a little bit. So the snake cook is useful. In fact, let's making L fear bring down the size of that a bit. And, of course, the move brush might be better off for this. And then later on. See, the whole ear is now completely different compared to what it waas, and you can use the Damien standard brush to make that crease or of a crease. So that's a snake hook brush. You could make horns, but there is one problem with the snake hook brush, which I'll demonstrate here if you take it out too far. You have a really bad polygon picks elation effect on later I can show you how to fix that . But that's in another topic for another video. One very useful brush that you will find useful, I'm sure, is the move brush. So be M and under M. You have the move brush, but it's V keep the B listers to B M. The It's true that b M v for the move brush. So I'm sure you can guess what move brush does. It moves. So let's say we wanted the whole head just a little bit, uh, bigger there. Say we're making an alien. You can take that move. I'm sure you can guess. That's how Ah lot of the movie and shaking of sculptures is done by simply using the move brush, move, brush. I'm sure you will find you will use a lot. So with the move brush, there's something you must understand. The move is adjusted based on the position of your camera. So if you look at here, the move is coming out here as if we move the camera to look at the side view and we try to do the same effect. It's moving it now over to the side there, so you have to keep that in mind. The camera changes the way the move brush works, so the move brush has another feature that could be activated when pressing the old key. So let's press the old key, and now we have to stay cook. Just kidding. Uh, it's more refined, smooth way of doing things that's more, uh, just like making a cone almost. And so we have the move. Brush could make these cone type features when pressing, Ault said Something important to know. So the move brush is not the only move brush. There's another move. Brush. So press B M and you can see here there is move type, tough logic, top of logic. There's other move brushes, but for this video, we're just going to be talking about the cousin of move brush. This move technological. So what is move tautological? Do you can see here when we moved the lips? It doesn't move the other side of the lips. It just moves one side of lips. We can actually open the lips here, can open the mouth, make some crazy fiction. Whereas if we were to go back to the move Bush being V and try the same thing, it's now just taking the whole mouth. But B m t takes move top. Logical. Now it really shines in the lips, obviously, because now it's, you know, just moving one let, but not both lips. You can take the I eyelids. Move around, move top. Logical. I'm sure the move brush and the move top Logical Bush. I'm sure you will find very, very useful. So that's the basic brushes that you can use in C brush. Believe it or not, these along with just a few others many pros use, and most of the time that's all they use. So don't get overwhelmed with brushes. Just play with the brushes and have fun. But remember, the brushes that I have demonstrated in this video are the basic brushes, and many pros use it so you don't have to worry about learning all the other brushes if you don't want to. But of course, later we'll be using these and others in the rest of this course and the next video. So let's continue on the next video and see that Thanks for watching. 13. Brush Settings: Hello. Welcome to another Z brush video. We're gonna have another adventure and Z brush today. So the last video we learned all about basic brushes, and now we're gonna learn about a little bit more of the features in the ways we can customize our brushes, brushes and any significant software are able to be set up differently and customized. They're sittings that change, how the brushes work. And so let's take it adventure into the brush setting Rome of Z brush. As you can see, I have my actually, I had the clay brush, but it's supposed to be the standard brush, so when you load up, uh, Z brush, the standard brush will be default. So with the standard brushed you can see here is just creating a basic shape. And one thing to note is, I have a stylist with a tablet, so if I go very lightly, it's a small stroke. If I go very heavy, it's a heavier stroke. So that's us creating a basic stroke with the center brush, and we can see we saw all about that in our last video. But now let's take it a step further and figure out how to change the settings of our brushes. It's the first. The first vital setting I want to show you is the draw size. And I'm sure you can see that the draw size is very self explanatory. It's just draw size. But one thing I want to tell you about draw size is you can access it there. But you can also hold down space bar and you can access the draw size from there. Or you can hold down the S button and it will be able to be accessed from the holy Now the S button on your keyboard. I used as button because it's really quick right there. Focal shift is an interesting slider. To be honest, they don't use it that much, but never a little less. I want to show you all about it, since it's my protocol to show you all about Z brush and in the end you can decide from your own personal preference what you like best what you don't so you can see here. The focal shift is changing the the inner circle of the draw size brush. Yeah, so you can't really see it when I press space bar, but you can see it here. So I have put the draw size up. And now I'm changing the focus shift so you can see there. The inner circle is going in and out. So what? What does that mean? Well, with the red circle on the inside, the closer the red circle to the border like this means that it will get a sharper effect. So let's go it very close to the border. You can see draw size. I'm gonna take down. You can see it's a very sharp effect. It's like a rock or something. Whereas if we take focal shift all the way very close to the inside No, no, only a smaller brush now, but it's more. It's not so sharp. Yeah, that's full of shift, the intensity I like quite a bit better. Then focus shift, but the sea intensity and focus shift. Just think of hills versus Cliffs. Now let's look at stroke styles. Uh, so let me just make sure Lazy Mouse's turn on until you turn off. Excuse me, but later I'll show you about please mouse. But, um, for now, let's learn about stroke styles, and you can see here under the standard brush. The default thing that is opened and see brush when you open it is the dots stroke style. But so what dots does is okay, places down a bunch of, uh, prince of your stroke. So the standard brush, it's going dot, dot, dot tons of dots as your stroke. It almost looks like freehand, but it's many dots, and you can see that if we go really fast, you can see the dots sort of there. Now let's look at drag wrecked drag. Correct. You can see there. It's, uh, taking one of the strokes, just one. So the dots place in dot, dot dot but dry Correct is just 1.1 print of a stroke. I'm I'm sure you can imagine the virtue in this in something other than the standard brush , even though it can be used for the standard brush to great effect. But yeah, so drag directors really nice for imprinting things like rocks or whatever kind of custom brush or you can buy out there. It's really, really good. So think of Ah, the dots is more like a stroke. And instead of a stroke, drag wrecked is more like a stamp. Now let's look a free hand. Obviously, Freehand is self explanatory. It's if it's a stroke, is just FREEHAND is. It's not the dots feature instead of dot, dot, dot, dot dot it's just judge. Well, it's it's ah, it's a hard to describe its. There's no doubt, of course, of go really fast. You can kind of see doubts, but it's not technically, dots, it's free hand. So, yeah, pre ended dots are not that different. Other that that small feature. Now let's look at spray mode. Would a spree Bo to how it's based? Okay, so what spray is used force for more organic shapes? It's like spraying on clumps of clay I didn't get on the surface. Of course, you can change the way the spray works by changing the settings. So the first let's go over is the placement slider so well. So as the placements later goes down closer to zero, it's just there's really no spray. It's just a stroke. You can still see a little bit of bumps there and stuff, but as the police mints later goes up close to one, it's tons of spray. Let's put that in the middle there for good average, actually placement site or a little bit up is nice, all right. Now it's like a flow. Flow is helpful. Was flow. Do the lower the flow, the few of the sprays that will come out? Let's go down with flow, and it's either it's spring, but let's now go up with flow and see what that does now, just more more spray that's coming out three years. You can imagine if we took the placements later. Coast all the way up. That's a lot of flow. Little flow. That's what flow does. Now let's look at scale variants. What does scale variants do? Could be accessed? Oh, scale button here. So what scale variance does is it changes the size of each spray. You could really change the way the spray works and make some really organic strokes. It's amazing for landscapes and different things like that. So now let's take a look at something that we have addressed in a previous video, and we didn't cover that video, but we saw the concern it's having to do with the ear. So let's let's zoom in on the here. So first of all. I don't know if remember, but let's load up the clay brush with the clay brush When you're sculpted in the ear, you can see there created budget polygon mess in the back of the year. So to fix this, you need to go down to brush and you need to turn on back facemask. But you can see I already had it turned on. So if you turn it off and your sculpted in there polygon this and so if you go to tutorials online, you're thinking back facemask, They tell me to turn on back, face, mask and all that back face stuff will go away. Oh, but it's still there. So there is some issues here with this back facemask. If you have it on, what you just need to do is play around with pressing control down and, you know, maybe puts masks on than dragon un selected. And so what that does, is it? It shows you that it shows the burst of the clay brushes now like a masking bush, And so back face, mask, mask, meanings for the mask. So now, uh, you can see it doesn't affect the back of the year when back facemasks has turned on. So, yeah, if you just turn so BCL, it's either. It's now affecting the back again. You have to make sure the way I find best to do it is control masks and part of the, uh, model un Select the Mask by clicking and dragging and then this releasing of everything and now it seems to work. So, of course, you're Bush has to be put into, like, a masking type mode in order for back facemask, even work so that that was that issue in Z brush. No, let's explore a feature for lazy people. Just kidding. It's called Lazy Mouse, and I suppose it's more for someone that is using a mouse, but it's very useful for other reasons as well. We will explore so to access Lazy Mouse. You cook on the stroke button, and I'm sure you could see it down here. And so turn on Lazy Mouse. And so what Lazy Mouse does It's, You know, it's really personal preference for sculpting, but let's see what it does. So let's load up the Damien standard brush. Be de yes, David Standard. Now we have the Damien Standard brush loaded up. And so what the Lazy Miles feature does is basically, if you turn up lazy radius, you can sti see here now, this red line behind the cursor, it will just kind of make the stroke just a little more accurate. It's like a It's definitely for something for sure. If you were using a mouse, you would want to use this, But for stylist, it's a little less important. But maybe a person would want Lazy Mouse turned on. I'm not sure you can play around, but that's what Lazy Mouse is meant For. Now, let's look at another feature that lazy mouse does. Uh, in fact, was turned lazy. Radios down and let's turn up lazy step. So what is lazy Step do now? You can see, uh, total. All right, that's controls you. That and let's turn down lazy stuff. But nevertheless laser steps on. Let's turn the draw size up. Now you can see it's putting dots. This is a very useful feature for architecture, clothing or anything. I like to use it a lot and lazy step. It's definitely taken advantage of the Dodge feature, and and it's like instead of a stroke. It's imprinting one baby in standard brush at a time, so as that's what lazy step does. So as you can see, you can create some amazing things with the brushes and Z brush. And most of what you can sculpt can be done in the last two videos of the brushy goodness that you have learned. Uh, but I hope this video has been nice going over some more advanced features. But, like I said, most of the pros that some of them they just use 2 to 3 brushes, just the standard brushes. So thanks so much for watching. Let's continue to the next video. 14. Symmetry: So for this video, we're going to load up the demo head just from the lightbox. Nice and easy. All right, so we have that loaded up to work with. And so when you sculpt in the real world you have sculpting tools like a clay sculpture or something. But one of the best advantages of C brush is the symmetry mode. What symmetry does is it, mears each side of your sculpture? So the changes you make to one side be the same made to the other side. So as you can see here, this models loaded up, we have our standard brush active. So let's say we want to sculpt something on this side of the model. Just a long stroke there, nothing in particular just demonstrating what it does say we're listening to music. We've spent two hours making this nice tumor on the side of his cheek. We resumed in just to the one side we weren't paying attention to the other side is gonna press f to go back there, But then we realized something has terrible happened. We just spent two hours on one side, and now we have to spend another two hours on the other side to make the second tumor in the control. See Zito and do that. But all of this could be It could have been fixed by just pressing one key on the keyboard . X her sex and you turn on or turn off Symmetry Road. When this motor is activated, you will notice there's two cursors. One has the circles around it, and that shows us the cursor that we will be sculpting with. The other dot is on the other side. And it's the mirrored the mirrored cursor. More often than not, you sculpt, not realizing you are in symmetry mode or you out of symmetry mode, that is sometimes a problem like I mentioned before can be a problem if you're zoomed in on one side of the sculpture sculpting away and you you forget that on the other side the changes have not been made to indicate that you were in symmetry mode. Uh, of course you can press X to turn it off and on, and you can see the second little cursor there. So say, for example, you are zoomed in. I'm not gonna zoom in right now. Demonstrate this, but you can see the second cursor on the other side of the model. But when I press x key, something happens to the red circle. There's two lines in the red circle went Symmetry is on to one line when symmetries off. So just zoom in on one side where we can't see the second cursor X, and you see that there's only one line x two lines. So symmetry mode, no symmetry mode. That is rather important, I thought, and it really helped my learning curve. So now let's go to the transform palette. So in the transport pallet, you will notice that symmetry down here, activate symmetry, turn it off and transform. Turning on that could be the same as pressed ing the X button. So by default, the motives set to the X axis right here. But you can have the X and y axis. So now you see that there's four cursors, all in symmetry moat. And if you go to transform again, you can have it in the Z axis. So now we have tons of curses all over. Now we're just making a mess. So for this particular model, this might not be totally you know, it's kind of uncalled for, but nevertheless, you know that you can have multiple axis activated. So to demonstrate this, let's load up a sphere. Just just goto lightbox. And, uh, let's just, um, load up, Banish Fear one, and that's not save the head. Okay, so now we have this sphere activated. And, ah, something we have to do is go over here and press make poly mesh three D. No, we have pressed that. Let's go back to the transform button. You will notice. Down here there is, ah, something called radial symmetry. This are button. If you hover over its gold radios, let's just turn that on. And so now you can see here we are. Uh, well, it's called radio symmetry. So now we're you know, you can make some amazing designs on spheres with the radio symmetry. That's what's made for radio symmetry. So I just wanted to show you that feature so you could see radial symmetry can do some really amazing things on a radial object. Anyways, I just wanted to show you the extra feature there is the X axis. Well, first of all, their symmetry mode, there's the X Y and Z axis. And then there's radio symmetry so that that symmetry and, uh, it's something that is often overlooked. But it is something that is very powerful in Z Brush and sets it apart from traditional sculpting. So thanks for learning today with me all about symmetry. Let's move on to the next video lesson. 15. Brush Size: So in this video, we're going to be learning all about draw size of the brush. Of course. In the last video we learned, you know, you can change the draw size of your brush here, and that's self explanatory like we saw before. You can press s Keesee say, for example, urine tab mode. And you don't even have draw size up there. Just press s key. Or you can just press, um, the space bar and hold down this hot box. You can change the draw size in this way so things can get a little more interesting. Little more dynamic. Literally. So this button here, dynamic on by the draw size Uh, what is dynamic do? So if you if you, um take and change the size of your brush, you know, it's really huge, But let's say let's zoom in way out and take. And we can see here Size of this brush is, you know, really huge. We would not need more larger than this for this particular modern. See, your have some huge amounts of ram on your computer and you have some huge landscape that you're making. What if you actually want the size of the brush larger than this is what you want to do is double click on Dynamic, and now brush eyes is absolutely J enormous. So the way this situation works is if you zoom way out now, you can. You can make the draw size even more large. So when dynamics off draw size is according to the canvas size when diamond, because on the draw sizes according to the model's size. So that's a bit of interesting knowledge. So let's first standard brush next, a cool feature that will be needed if you know according to personal preference. But say, for example, the standard brush. Say, for example, you absolutely loved the draw size 100. Oh, another trick I want to tell you about is you can click on 100 101 and type in 100%. Or, if you want something exact. If you can't slider can't be trusted. So these two buttons here I went a to true. Now, the vision behind these buttons so say, for example, are standard brush. We loved to draw size to be 100 and we loved dynamic mode being turned up on so right here , remember dynamic mode per brush. So I'm gonna rewind just a little bit, so let's ah, b c l know we have the clay brush Dynamic quotas off size is all different Now let's go back to the standard brush Now you see, dynamic mode was off the draw. Size is the same. According doesn't matter really brush but say, for example, per brush. You wanted that to be remembered. So let's go, uh, back to the clay brush and we went that back 100. So 100 we want a dynamic mode turned on double click. Have a click. Okay, so remember Diamond never mode per brush. Remember, draw size per brush. Just turn those on. And so let's go back to standard brush. See, dynamic mode was turned off when we last used standard brush, and it was at 97. But when we go back to the clay brush now it's turned on and it's 100. So these two buttons are really nice to remember those things. Yeah, so I really like to take advantage of all the options. Withdraw. Size and draw Size is very simple. In most software's, it's just the size of rust. But Z Brush likes to take it up a notch, and they have all these different advanced options. So I just wanted to show you that in this video. So thanks for watching. Let's proceed to the next video. 16. Smoothing: in this video I have here a model you can download from the resource is section of this video. So if you have sculpted much in Z brush, I'm sure you have found the necessity of smoothing out your model. If you have not found out this truth prepared to learn something new right now in this video, smoothing and Z brush is like sanding in woodworking. In real life, you can sand away unwanted detail with sandpaper. The same is true with smooth brushes in Z brush. Smoothing is such a pivotal future that Z Brush has a convenient hockey built right in the shift key. So you just hold down shift and the the cursor in circles. Well, the circles and the cursors. Yet down there they become blue. Yeah, So, first of all, I'm going to activate the main sub tool That way. I, uh And then I'll do X That way There's symmetry mode. Yeah, all things we have learned in previous videos things you have to pay attention about. Yeah, shift mode is the smooth brush. Let's just smooth that out. You see, Now they're gone. Yeah, all the details they just melt away with Z the smooth brush. Sometimes it is extremely needed, and sometimes you know it is a bit too much. Go with the standard smooth brush. It's very nice, so smooth brush comes with different options. You can hit B and S, and that will bring up the brushes that are under this smooth category. And there we go M for the smooth bush. That's smooth brush. And as you could see her, this brush will be selected as the sculpting smoothing brush if you hit shift, so every time you hit shift that will be the brush up here activated. But let's go back and see what other options there are. Let's take a look at smooth peaks. Now this dialogue is telling us that again. Now, every time we click shift, smooth peaks will be the smoothing brush, and this is only for this instance of Z brush. So if you close the brush and restart, it will go back to the regular standard smoothing brush. But of course, you can do that by just clicking PSM, but for now, let's keep smooth peaks as I want to show you what it does. Smooth peaks is nice, as in that it will smooth out the peaks. It will only operate on the parts model, that air sticking out far. So that's just Oh, see there. I, uh, forgot to person at shift. So that's per shift and then see what smooth peaks does. As you can see, it's smoothing out the stuff that's sticking out. Let's go do all of that. Zoom in just a bit, and, uh, I'm gonna take size down of the brush it shift and see. Now, smooth peaks is just handing the nose away. But B S M If we were to go back to the regular smooth brush, this would smoothing in a different way. See how the nose is not disappearing quite as fast. It's just smoothing everything. But if we under that PS p for smooth peaks now it's just smoothing away the nose, and it's disregarding the cheeks on the lower or the lip area. So that's what smooth picks does. So if we hit B s, we can try out some other smooth brushes and let's take a look at smooth valleys. So what does a smooth valleys do? Well, it's what I like about these brushes is smooth valleys and smooth peaks there fairly self explanatory. So as you can imagine, smooth peaks smooths away the nose, smooth valleys. It keeps the nose intact, but as you can see there, it's moving away around the nose. So I'm sure you can see there is many, many options with these different options of brushes. Let's explore more. So hit lightbox. Let's go to brush and there will be a smooth folder right here and now. Let's go to smooth, stronger click on Smooth, stronger Now in quick, Quick up. We could rush Wrong ones was good, Smooth, stronger. Okay, I thought it said strange. Their first got a double check. So with smooth, stronger, I'm sure you can imagine what this does. Smooth, stronger, just smooths away everything stronger. So that's a very useful, useful brush. Sometimes the regular brushes, just like B S m. It just doesn't smooth. Everything is as much as you want. Smooth, stronger is very nice. So that's it for this video. I hope you learned all about smoothing NZ brush, and, uh, I'm sure you will find it useful in your sculpt. It's a pivotal future of sculpting, so thanks for watching. Let's proceed to the next video 17. Inverting Brushes: So in this video, we just have a police fear activated to demonstrate the features that are explaining in this video. In Z brush, the brushes generally buildup material or increase the volume like this. Just press control that he's there. This is their default. We're working. However, in C brush, you can activate a mode that will do the opposite of the default method. So this is the default method. It builds up material. Yeah, you can activate a mode that will do the opposite. And that officer, of course, is to dig away or dig in. They're just whatever the opposite of the standard feature is to activate the alternative brush. Just press down the ultra key first developed press F zoom that in just a bit so we can see clearly. So, um, this is the standard. In fact, I'm gonna get rid of asymmetry, mook or a symmetry mode. Um, and this is the standard feature instead of brush feature. But if I hold down all turkey now, it digs away. So this area is the old Is this tendered? Just think of the word alternative and you're set to remember the old key. The alternative feature to the standard breastfeed her. Yeah, So most brushes will act in this way. But there is a few special brushes that do things just a little bit differently. Control Z, get blank canvas. Now, one of those is the Damien standard brush. That's a special one on oddball in the vault to activate the damn standard rushers. Go B D. Yes, You have your Damian standard brush, and you can see here the natural, um, activity of the name instead of brushes to dig in. And we have we have explored this before in previous videos on. I'm sure you can imagine the amazing possibilities with Damian standard brush. But digging in is its default feature person. Old as you can imagine, it does the opposite. Digs out these methods that creases here. I'm sure you can imagine the possibilities of refighting the details in your model. So another brush that is a special case is the remove brush. Uh, just hit b e r. Beat em so that it's did I b m and you confined. Move, brush Right here. So be m V. Move Bush, Increase the dresser. Just bits. You can see a default method is to move, and that is relative to the camera. See how on the site of the thing is moving that out? But if you're right looking front and center of the camera, it's moving to the side. They're kind of so yeah, go to camera. That's the default feature. But the alternative method when passing old is this feature going in or out? So it's completely not normal when it comes to brushes, so the smooth brush feature. It's definitely nice for moving things around. But it's not what you would imagine when pressing Ault like compared to other brushes. But I just wanted to show some of those special cases beyond these special cases. There are some or, of course, but we will talk all about those later in this course. The old key is powerful when person ault, I'm sure it could imagine the amazing models you can make with this cult feature. Just think of the opposite or alternative of the regular brush action. Hold down the oat and you get the alternative. I suggest you pause now and play around with the brushes and see what all taken do. Have fun when you're ready. Let's continue to the next video 18. Alphas: So in this video, we're just gonna open up Dina Wax 1 28 repressed F to zoom in a little, we have this spear front center, so NZ brush. We have already learned many things about the brushes and about how they can create some amazing effects. But in this video lesson, we're going to be going over. Elvis offers, combined with brushes, can create even Mawr. Amazing detail. Officer two D images. They're two D images that are called Alphas. These two D images create the effects, so let's experiment and see how the alphas work and what they are. So we have the standard brush active here, but below that, we see Alfa below this standard Russian. The stroke is Alfa Button. Right now it's turned off, but we don't want that. Let's turn on by clicking on it. Of course, we have to select an Alfa, so just click on any Alfa. But all quick on, let's say elfin 19. So with the standard brush active and Alfa 19 let's see what happens. So it's no longer just the standard brush. There's an Alfa being applied to the standard brush so you can see here It's just stamping out endlessly the alphas one after another, there being merged together. You may not want that, so it's figure out how to change our cities, What you want to do. You want to go to stroke and modifiers bank like UN role stroke modifiers roll. So now rules activated. What role does is it creates very defined stamps of the Alfa. The world feature is a bit more impressive with certain brushes, but you can definitely see what the role feature is doing here. It encourages a seamless effects, so this is just empty. Note. Thes twirly features one after another. Let's try to find Alfa that encourages a seamless effect. There we go off of 57. That's a total wonderful, seamless effect. Let's go back to stroke tool turned roll off and see now without the role feature. It's just a merged together. Helpful. But if we turn the role future on now, it's definitely a nice, seamless effect. It's like dry ground or something. Yeah, so the role feature definitely encourages those seamless effects. So I hope you have thought of this feature before four. Right now are whenever, um during this video, but that's the drag direct stroke style feature. We have talked about this in the previous videos, so that's why I was hoping you recalled it. But I'm sure you can see the abilities it will have with Alphas. If not, let's go over it now. So it's quick on the stroke style and click drag wrecked and see what it does. You can see there. You're just dragging out one single stamp of the Alfa. One thing with Alphas here is we can see there's a sip soft fall off. You could see there. Let's demonstrate that better back with the elfin 18. Yeah, it's definitely a soft follow a few Comptel. Let's just bring up the intensity a bit. We can see that little better you can see. It's just kind of falling off very softly around the edges, so you may not want that to avoid that. Just go to the focal shift, but that all the way to the left. And now we have a very hard fall off that's very clear as to where the Alfa ends. So that's a good use of the focal shift. Just wanted to let you know about that, so if we go into the Alfa menu. Uh, Alfa menu. They just go to modify. I want to tell you a little more about this. In this modify palate, you can see a lot of different options in the modify area that can affect your Alfa. And I suggest, ah, you just play around with all of this in this video. It would be hours long if we talked about all the different possibilities of these different options. But there's one feature in particular that I want to show you about. That's called the Mid value. No one's quite important. Mid value right here with mid value does is it tells e brush with values to be as the base line. So if you have the mid value all the way at 100 you can see here. The white area of this Alfa is now even with the surface of this model in the black area. The area around the Alfa are now becoming indented into the model. But if you go back to Alfa, turn mid value back to zero control Z. Now the outfits back to the black area being the surface in the white area, going out so I just wanted to tell you about the mid value. It's a very important effect, so you can see if we stroke with this effect will get. The black areas will be sunken in if the mid values are 100. And if we go back mid values back to zero, it's something out. The those are the two different things that mid value can do. It's very important toe. Understand what the mid value could do. So you can imagine that limitless possibilities with the office settings and how you can make custom office. There's even people who sell custom alphas for profit. Speaking of which, let's talk about how to import and custom Alfa in the resource section of this video. I have a customer food for you. You can use that or some other free out for Yeah, it was so goto Alfa, click import downloads wherever you download the Alfa gave you And now you have here That was we've future Alfa all right? Yeah, it's definitely now weaved l for theirs. Really cool. You can import many custom alphas. There's office for everything covering all the possibilities would be impossible. So it really comes down to your own experimentations with alphas. So I hope you learned a lot on how to use Alfa Zindzi brush. You should play around with the office. I'm sure you will get really excited when you already Let's continue to the next section of this course. Thanks for watching. 19. Subtools: All right, So for this video, just in lightbox double click on project and we're gonna go to demo projects here, Fuller. And we're just gonna load this rifle model. I already have it loaded up here, though It's going to serve really well for the purposes of this video. So Z brush is always a special software. It names its features and buttons generally something completely different than you might expect in other Softwares. So in Z brush, you have multiple layers in your scene, just like in a program like Photoshopped. However, they're not called layers. They're called sub tools. So let's see how this works as we went over before, we have the tools active in the palette here. So we have the cylinder here, the holy mesh. But now we also have this rifle model active. But below all these different tools, we see here the sub to a palette. So having clicked on the sub to palette, it opens up, um, the sub tools and these air the layers of Z brush world the sub to palette. So if you turn on transparent mode, you will be able to see sub tools underneath the other sub tools. So the main housing here say we wanted to see the main housing transparency mode will make all the other sub tools invisible. I have to keep in mind the active sub tool that you have selected here will remain visible . Of course, that's kind of the goal of the transparent Mitzi Mode is to see the active sub tool. If you think of food shop players, you could do many things in Z brush the same. So let's turn off transparency and save you one or two of these main housings like in photo shop. Let's zoom this up here a little, uh, say we wanted to these main housings and photo shop you can duplicate layers. So in Z brush, you could duplicate, um, sub tools. So now we have a duplicated main housing. And if we go to gizmo, we can see that we now have this duplicated main housing of this saints fiction rifle. Of course, you can do it sub tools as well. Just have the active sub tool selected, and then you can click delete. One thing I want to say is that this will be a permanent action you cannot undo this deletion of sub tools. That is something very important to remember. I was like to keep this pop up active. Do not like to place always. OK, skip this note. I like to press. Okay, that way I'm warned, because that set second main housing that we had a duplicated is now deleted forever. So you accidentally pressed Italy on some sub tool that you have been sculpting for hours. You don't want to do that, so keep that pop up open. And, of course, that's personal preference. But that's what I do. So NZ brush. You can rearrange soap tools as well. You have to press these arrow buttons, though, so the Zahra buttons they move the sub tool around these air buttons. They just moved the selection from up to down main housing. Selected front casting selected lower receiver selected Specter main housing. This one actually moves the main housing up and down. Now something you want to know. That is, if you hold shift down, it will take the main housing and put it all the way to the top. Hold shift down and now take it. Push it all the way to the bottom so That's those arrows. They're very useful. So selection of soap tools, you have to be fairly careful. I suggest you select sub tools in the name area because if you select the sub tool in this area, you're selecting these icons as well. And until you fully know what these icons do Well, for example, um, selecting that Icahn didn't even select the sub tool just selected the, uh, paint icon. So yeah, it's a very important thing when selecting sub tools to mainly aim your cursor for the name area. Sub tools could be made visible or invisible like we saw with Transparency Button. But keep in mind that the active sub tool will not become invisible if it is active. If we switch away from it, it will become invisible to, of course, but something I also want to show you is these invisibility buttons here in the sub tools. Now this main housing you can see it's invisible. It's because it's active, are very visible because it's active. If we want it invisible like we selected to go to another, it's up tool. Then it would become invisible. Like I said, the active sub tool will not become invisible. Something you wanna I know about is if you hold down, shift and click the I icon, it will make all this up tools invisible and vice versa. So to keep things organized, you want to know how to rename the subtitles For that, all you have to do is have a subtitle active and click on Rename. Let's rename that and then just couldn't house rename the name. Okay, so now we have that renamed to the housing instead of the main housing, but just helps keep things organized is the ability to rename things just like very simple situations with just like layers and photo shop. You can also select sub tools in your canvas by holding down all and selecting on the sub tool we can slicked on the rear frame the rifle model there lower barrel this scope little Yeah, so all quick for sub tool that selects it in three d canvas. Lastly, you can append new primitives and you're seen by clicking on upend primitive. So to do that just quick append and that will upend a new primitive. So if we scroll down to the bottom here we have our cylinder here now added to our rifle scene. That's how to upend primitive. So that is all about the sub tool palette and how to work with the sub tools of Z brush the layers of the three D sculpting process in Z brush experience. I hope this information was helpful to you, and now let's proceed to the next video. 20. Importing: so NZ brush. There's several ways to import models into the work area of the canvas area. Here, you can do it inside the program or outside the program. So let's see how this is done right now. You can see, then we have already touched on importing, importing, but a pending primitives and stuff like that. But now we're gonna be talking about importing other files into Z brush sort out. Right now, you can see we have a tool in here and just goto lightbox demo female head and it's actually product. But nevertheless, the tool here is of this female head here and you can see that on the soap tool. How it here there is several subtitles ER's head and the eyes as subtitles but say you wanted to add a new sub tool to your scene. So the most common method of uh dealing with three D files is the 30.0 b j format files, and this is quite literally meeting object. It just means object O B. J. So three D objects that we want to add to our scene. They could be in the three d. O. P. J format. DJs like the cross platform file format for the three D editing world. I mean, it could be imported. Exported from most three D Software's in the Resource is part of this video. I have a sample three d file in the O. B. J format, so it's and so import that now. So just go to important tool area to go to your downloads and sample objects. There's open that. And so now we have oh, are female head here. Just open the gizmo and bring it down a bit. But obviously you can tell there is a problem. It replaced the head. So now we have this beautiful statue of an angel and eyeballs and teeth. But we originally wanted the head and the statue. So it's just, um, quick control Z to undo that. So of course you could duplicate ahead. You could just have the head select here duplicated. Now you have two heads and then you go and go back to import important sample object. And now you have the the Angel as well as the head with all of its of tools. So things are working out okay, now, however, let's just delete the second head because that's not what we're when he do here. What we want is I mean, that's always an option. But I want to show you for this for the sake of thoroughness. Another way, So you want to do is go to see plug in and under Z plug in Go to sub to a master fairly self explanatory to I understand it's about the sub tools. It's a master of the sub tools. The master of the art of sub tools is the subtitle Master Button, and you can click on the soup tool Master button and within their you can actually import multiple objects by clicking on multi append. And you know, for the purposes of this video, we're actually not going to insert multiple objects, but just go multi upend. And if you had several of these like this, you could actually take and ah, good shift quick. Both of them put them in or uh, yeah, it's here. It's important to Why not? So now, as you can see here, let's just zoom out of the scene here. We're trying to figure out where Okay, Wow. Yeah, that definitely imported that Well, yeah. Don't we imported that. Well, we're going to have Teoh move that all around and use the yellow box to scale on all of this. But as you can tell, there was two sub tools added to the scene. Now there is the angel and the head. Let's go ahead and take the sample object. Copy. And, uh, we're gonna delete that since we just need one statue of an angel. So that's how you can import objects without having to deal with the souk tool situation and replace an existing sub to. Of course, you can always duplicate a sub tool and press import. But say you wanted to import tons of objects. Go to see plug in, some told master multi upend. So it's very useful. So now what if you were working with projects in Z brush as mentioned before, it is my personal preference just to work with tools and Z brushing to save them separately for reasons I will explain shortly. But that's, you know, for the consistency of the completeness of the discourse that see how we can work with the project an import stuff into a project. So because of the way projects work in Z brush. It will replace any tools that are open. So you can see we have are simple object here with all of its sub tools. Well, female head and all that. Subtitles And this active. And so there's a female. There's Pollyannish. There's a cylinder. Um, this star. So So. The downside of projects is that when we start a new project, all of this extra sub tools would be deleted and just the active one will be saved. Well, it will be deleted to if you don't do what I'm about to tell you. So I suggest you always save your tool for safekeeping. But we can do is press copy? No, this female head with all that sub tools is co paid to the memory, So yeah, I again suggest you save it. Say you worked on this head for hours and this copy, for some reason, didn't work or something. Save it just for safekeeping. But for ease of use, press copy. And now, to open a new project. I also have this in the sample. Uh, some project resource is in the video, so just goto file open, and it's gonna ask if you want to save that's cooked know because we haven't copied. And now let's go to example Project and we're opening the sample project and now we have a simple project of a hand and go pace tool. So yeah, pasting the tool in their helped a lot. But now you see, that project replaced the tool we had open, but we pasted it in. So it's all good. But yeah, the problem with the projects is all the other tools are now lost. Just the angel and the female head combination. They came back in, but all the others cylinder, whatever they were lost in the other symptoms. Of course, they appeared back here because their default, but yeah, so that's the negative of working with projects. So that's why I like to work with tools and save them separately and z brush. But it's all according to personal preference. Of course. Projects save your canvas size and preferences and stuff, too. But hopefully this video was demonstrative of how you can import into Z brush. Now we have opened up a world of opportunities by being able to import three D files from any other program. Thanks for watching. Let's continue to the next video 21. Splitting : When you have Z brush open, you can think of each sub tool has its own three D model. Basically, it's like their client states of the greater realm, the larger model. But they're independent, and they could theoretically be exported as their own model if they so wished. But their best served being part of the united realm of the three D model. As sub tools united together when working, there will be times you will find that you want to separate more parts of your model into smaller bits. MAWR sub tools. So for this video, let's go to Lightbox and let's just open this female head to experiment a little bit. So this is more of an easy case, and I'll show you one of the easiest ways to split the model up. So let's go to the sub to palette, and you have your eyes and teeth here. Let's make the head invisible. You can see here now that we have the eyes and teeth and you can see that these are on their own. Subtitled Eyes in the Teeth are combined, but let's say you wanted to work with the eyes separate from the teeth So what you want to do? You wouldn't take click and scroll the sub tool palette up so you can see what's underneath when I click on split button. So now you have these options here. It's now what you want to do is you want to press split two parts and person. Okay? This is just telling you that you can't, uh, undo this. But don't worry about that, because I will show you how you can undo it. So now you can see the teeth are their own. The one eyeball here is one that is its own. And the other eyeball is its own parts. Their own sub tools. However, um, no, you can see here. Of course, you can't press control Z and put the eyes and teeth back together. But you could merge. Um, you could merge sub tools back together. So what you can dio is quick on the merge button, and here, you see, emerge down, murdered. Similar merge visible. So you could do you could do is you could make the teeth invisible and just merge visible. Or you could, uh, quick on the eyes, one and down. Merge down. Look. OK, Now the eyes are back to being. There were owned sub tool. And, of course, let's rename that two eyes and let's rename those two death Oh, let's make all that invisible again. And so now we have the eyes on the teeth as a different subtitle split. So now let's take a look at another scenario. Let's go to the face sub tool, you know, in the face. Now we have the face and what you need to dio is of course, you could have all too quick on the face or you could just click on the subtitle there which didn't need to do is, um, Later I will tell you all about masks later, But for now, just click control And uh oh, what you want to do is turn off symmetry mode. And so now you can see here, I'll control Z. That symmetry mode was on so control. You do that. It will do it to the whole face because of symmetry mode. Josie Click X to turn off symmetry mode. And now you have just one part of the face that's masked. What is this can deal Show you another way. You can split so quick on the split button, and here you can see that you can split masked points or split unmasked points, and you know it doesn't make any difference. It's These buttons are the same because if you think about it, if you split the black area, that's gonna split the white area. If you split the white area, that's going to split the backyard. So either one that's just click on split, uh, mask points. Now you can see the face has been split up into two halves into suit to separate subtitles . Let's just click on the visibility thing. And so now we have just the face is now split up half, of course. Normally you don't want to split up a face like this, but never list. Now you know how to split the model using masks and lighters. Like I said later in this course, so explain all about masks. Now let's switch gears a little bit. Open up lightbox, and now what you want to do is quick on the demos, soldier, don't save all the face and stuff, Kate. So now I'm going to hide everything except for the body and to hide everything except for the body. You can easily do that by clicking solo mode. Now you have just the body Nice and attractive skin says. If you go down here and you click Polly Frame, you can see that the body is made up of different poly groups. And this is another topic just like the masks that I will explain in detail later in this course as well. But for now, you can remember that you can split based on poly groups, and I just go to split button and groups split their go. But I'm not going to split up the body in this way. Um, I just wanted to show you that you could do this. So if you put Press group split body would be split into its separate groups. So now let's turn off Polly frame. Let's take a look at another method to say you wanted to split his body in half or what? The arm. So obviously, if you had PolyGram frame, you can see the arm is, um and its own probably groups say you wanted the lower arm, not the bicep area and whatever but the arm, the lower arm and hand So that's Zoom in just a tad and see how this is done. So what? You could tell two years you can hold down control shift and now click on the arm like so and, uh, it's controls the turn on symmetry mode. That way, both arms are like that, and what that will do is it will make the exit selection visible and the rest will be invisible for consistency. Let's take the rest of the sub tools. Make those invisible as well. So now you can split hidden. And so now you can see the arms are separate from the body. Okay, great. There you go all about splitting parts of your model up into different sub tools. So thanks for watching this video. Let's go on to the next video. 22. Merging Subtools: so welcome to the next video. In this course, in this video, we will do the opposite of what we did in the last video. We will combine soap tools instead of submitting them apart. So this is a useful skill to know, to be able to keep things organized in your workflow. So let us explore a little more and see brush and see how it is done. Let's see how we can merge soap tools together. So it's just double click on this female head Demo ends. We have that here. Um, so I'm gonna go ahead and click on the eyes, going solo mood. That way you can see that I'm gonna click on split and split departs. Look. OK, no turn off. So moments now, the head teeth and two eyeballs are on their separate, um, so tools. And that's where we were at in our last video. We're able to split things up like that, but in this video, we're gonna be doing the opposite. So let's say we didn't want to different eyeballs, saying we wanted to eyeballs on one sub tool. You can easily merge the two I bull balls together, So let's go into the transpose mode right here and click on one eyeball and you can see here the left one, the right of the model left of the view canvas. You can see the eyeball, but the other one and like so you can see the other one once you click on the sub tool of the eyeball. But let's say we wanted both of those. And so let's see how you can merge these together. So it's very simple procedure. All you have to do is ah okay, so when you need to do is click on Merge, moving the soup tool palette, downs, we can see all of it and you can see here. There's merge visible Merge down, merge. Similar. I'm gonna be talking about these two invisible merges down, but of course, you can't merge down if you're in the for this town. So tool. So now he converge down. So that's one thing we could do. We could just merge down, and that would be simple to be done that way. So let's let's go ahead and merge down. All right. Pop up will display saying you cannot undo this procedure. But that being said you can easily undo it by doing what we did in the mid beginning of this video. You could go to split split two parts, but you can't do control Z to go. So that's one thing you might want to know. Let's go ahead and turn off transposed mode. So yeah, there's a there's that merge down feature, but there's also merge, visible and so what merge visible does is it creates a new tool and puts all the merge sub tools into that new sub tool. Eso Let's split up the eyeballs again. So let's just split departs. Alright, great. Now eyeballs or split up again. Okay, So what you want to do is you wanna go to the head and the teeth, so yeah, heading teeth or now invisible and the two eyeballs are visible. And but yet on different so tools. So just click on merge, Visible. All right, so now that we pressed, emerged visible, you can do is go to merge, dies and you have them here. And so go to the back to your head, and then you compress, insert and press merged eyes. Now you have the two merged eyes visible of course at that point, then you need to delete the two separate eyeballs so you can see it's more cumbersome process. But nevertheless, that's something you can do. Merger visible. That's all about merging your soap tools. Now let's continue to the next video. Thanks for watching. 23. IMM Brushes: when working with Z brush. There's times that you want to add objects to your scene, but you don't want to make it all by yourself. You just simply went to attach existing pre made templates to your model. So before I continue, this is just this police fear. Here, you've got a light box and you can double click on Polly spheres. Bring it up. Nice. Simple. Um, just for demonstration purposes and then clicking X figurative symmetry mode. So when you want to insert a pre made model, uh, this is where insert multi mesh comes into play. They're actually brushes, and they're special in that they create new objects attached to the surface of the model that you're working on. So let's see how it works. You just click on B to bring up the brushes, right, because they are brushes. And here you can see, uh, they were found in the brushes area and this means insert multi mesh. I am M. And so I am M brushes. Anything that starts with I am M is a brush that's a pre people little template. And let's just deal with the I am basic. In fact, we already have it active up here. Once you go to brush the quick on, I'm in basic. It'll appear up here the options, basic shapes. So it see what what shape we want here. I'm gonna do the cylinder. And of course, if there is far too many to populate the screen, you can always drag and, uh, this way. But of course, the basic shapes. There's just a few so we can see it all here easily. So, yeah, let's just pick a random shape here cylinder, and what you do is you click up. So there's a warning that this mission is composed multiple subdivision levels, and later I'll talk about that. But now what you do is open geometry and delete the lowers subdivision levels. And now you're good to go. So you click, drag and drop, and now you have a cylinder added to your spear controls the that, and so you can see it's rather interesting. You cook, and as you drag, you can make it bigger. But as you can see here, you can. You can click and drag out, make it really huge, but when you dragged back in, it's not making it shorter. It's making it thinner. So could achieve quite amazing effects in this way, and you can see where the cone. Here it's the same philosophy. So, yeah, if you, if you drag out and then you dragged back in will shrink inwards. So there's some fun options here. However, you have to keep in mind that you can't drag back the object toe lower. It's height, so you have to be thinking ahead and figure out the height that you want because you can't take the object. Object back to a certain height, your stuff toe. If it was too tall, control Z and make it sure, so that's how that works. Now let's play around a little more and explore Z intensity with the I M M brushes. The Z intensity is the size of the brush so appear you can see it's 100. That's the full size of the brush. So if it's at 30 that will be 30% of the bush, so you can definitely see the effect that has had on this cylinder. When it goes up to 100 it's tall with Z, intensity is down. It's kind of short, and let's see how that works with the cone, that's 100. And then if you go down toe 20 that's what, um, 20 will look like. Coding is very. It's like a hill rather than a sharp mountain. So some people get confused. One. Roy there I am, and brushes are small. That's why zn Tate intensity modifies the height. So what do you feel? One, uh, to have all of the shapes that you drink bring into the scene the same size. You can do that. You just need to fiddle with the draw size a little so you can see the red circle there on the, um on the sphere here. That's the size that your cone will leave because we're working with the cone. This is the size of the cone will be. So let's just make that little bigger cause we want the cone to be that size, Um, just for demonstration purposes. But so to make a shape the same size but you want to do is you want to click and dragged the shape into the world and hold down control and then release everything. Quick Control release Quick control release. There's no dragging evolved that just click control release, and it's based on the draw size. So let's take the draw size down. Quick control Really quick control release. And so, yeah, that's how the draw size. Fix that situation. CIA. The control will snap the shape to the size of the draw size whatever the draw sizes on, so you can rotate the curse their little on the screen, and that will not affect the height because of the controls. Uh, the controls buttons iron fist on the size. So, yeah, let's just demonstrate that little bit the draw size 1 30 and hold down control. You can rotate it around like this, but the height It's like I said, it's an iron fished will not move. It's the draw size, whatever the draw size is set to. If you want to make many copies of the same size, I am M, you can click and drag and then hold down control. And there will be the same sized brushes. Yeah, so that's how that works. So when working with this, you may have seen that all these I m m brushes that you have been attached to the model have all been attached to the same sub tool. So that's just attach some cones here and then one cylinder smaller center. So you can see here If you if you click pulley frame, you can see that these, um well may back up just a little bit. If you look at the sub tool Polly Spear, they're all one sub tool. So like we talked about previously, if you want to split Thea the human brushes that you've attached into different sub tools just goto and split and split departs look, OK. And so now you have each, um, sub tool as its own. Uh oh. Sorry. Each, uh, I am M Brush has its own sub tool, so that's how that can be done. One thing I went I mentioned is you could even do split departs or it could do groups split either way, whichever method you are wanting to go after. So all right, that's about it For this video, I hope you enjoyed and learned a lot about the I m M brushes. So now that's continuing to the next video and learn about custom. I am and brushes. Thanks so much for watching 24. Custom Insert Multimesh : So in the last video we learned all about I am M brushes NZ brush. Now, in this video, we're going to learn about how to make a custom insert multi mesh brush. So explain here quickly how you can make any soap tool you made into a I'm m brush. You can add to your future tools. Believe me, it is an important thing to know, and we're gonna learn all about how to make custom insert multi mesh brushes. So first of all, let's just go ahead and just open up this Polish fear again. Make things easy again. Nice is simple, Not too impressive. But least we have a surface here to work with turn x press X to turn off symmetry mode. So now what we want to do is open up the sub tool palette here and then we're going to press, upend, upend sub tool and you could choose any one of these shapes. But for me, I'm going to choose. Let's see a cylinder three d. Now we have the cylinder three D activated. Now we have entered the creation process oven. Insert multi mesh Russ Ah, Now let's modify this upended cylinder Well, obviously, it's kind of huge right now, but, yeah, it's just, uh go here. Modify this here. We're gonna modify the sin. Linder. Okay, so now the little more manageable this way. So what we want to dio is I'm gonna increase the draw size of the move brush here, and I'm going to Okay, I have lazy mouse on, so going to stroke and I'm gonna turn off Lazy mouse. All right, so yeah. No, it's really strong. The move brush turn down the size there goes to. Now, with the intensity turned down, it's a little more manageable. The the moving around of this cylinder. The goal here is not to make any special, uh, shape or just making a wanting to make a shape that we have for sure customized. You know, it's totally ridiculous. But so now we totally know that we have customized this shape. It's no longer cylinder. It's like a weird blub. Like I said, the goal here it's for example, purposes is simply to make this shape custom to the point that we know that we have made it a custom shape. It's no longer just a standard insert, multi mission type shape. Of course we could be. You could be a lot more elaborate and be is detailed, as you wish going through this process. But for me, I'm just going to stick with that for demonstration purposes. Very simple. So now let's rename this sub tool. Uh, and it's a custom shape, So this name is gonna be helpful so quick on the sub tool that is activated for this custom shape rename. And I'm just gonna name it blob, because that's what it is. And it's no what you want to do, so you wouldn't hit be on your keyboard. So now what you can do you will notice here that I am in basic. You can add your, um, custom shape to any one of these folders, but let's just, uh, open up the I am basic folder and so you can see her creates create insert multi mish. Uh, that will come in handy, but before clicking this button, you want to do something that's very important. You wanna look at the object from the perspective, um, that you want it to be sticking out of the model. So, for example, the very top of the model, and I pressed eft to be very correct in this way. So really, what I'm trying to say is that the side facing the camera will be the top of the brush. The top will be the part of model that's facing out from where you add the insert multi mission. Now that we have that view corrected, quick, be now you want to do is you want a press? Create insert mesh click insert mesh. So now here gives us some options. It asks if you want to make a new brush or add an existing brush. So, for example, we have active the I am M basic folder or brush technically. And if we clicked append, we would upend this blob shape to the basic insert multi mission area as ah and upended brush cause, technically, the insert multi mission basic is a brush. And then all these options here are appended primitives. So I'm just good press new. It's now here we have insert Meltem ish and it's a blob You can see right there. Yeah, hit be on your keyboard. He can you can see down here that it has created the custom. I am in brush, you can see here appear it is named the name that we named the subtitle. One thing I want to say is this blob brush in this brush library of assets will be saved here while you were using Z brush. But when you close it, it will disappear. So what if you want to save this custom brush? So what you need to do is you want to go to brush and save, as so what you want to do is you wanna save as in the installation folder of Z Brush. For me, this is under a different hard drive. But typically it is under program files. Pixel log, logic, Z brush. So once you're in the Z brush folder, you want to go to Z startup. And once you're in the Z startup folder, you want to go to brush presets. Right now it's empty. And then I'm just going to rename it blob and save. So what this will do is well, when you save it there, it will load up every time and see brush starts. There we go. We have added a new I am M brush. Of course, I could have named it better. I could have named it I am M Blob. Just so I knew it was insert multi mesh brush. But for the purpose of the of this course in this Quest video, I just wanted to keep it nice and simple. So we made a custom. I am Brush. And so now let's insert it. We already have it. There is a sub tool now. It can insert this custom blob as much as we want. There you go. Now you can see we have our custom insert multi mission brush. It is a really handy trust me. It's really handy because in this way you can save a library of customs shapes, stock models, basically, that they're ready to go. Every time you sculpt custom, I'm and brushes. See Brush keeps surprising us with amazing new features. Thanks for watching this video. Let's continue to the next video 25. Curves Brushes: today we're going to be talking about creating guides and placements of copies of an I M. M brush. So in the last video here, we made the magnificent blob in certain multiple mesh brush. That was custom. We made this. Of course, your custom brush could be different, but this is what we we made in the last video. Uh, so let's try it here. Just press B and you select blob. So I'm sure you will notice here in a press X to get rid of symmetry. So as mentioned before you just click and drag. And that brings out a single copy of the custom brush and all these methods of, you know, shrinking and, uh, rotating stuff we described in detail in the last video. Yeah, quick drag. And you could see now we have our wonderful blobs being spewed forth control. See all of that. But let's say you won't have many copies of it all at once, So let's play with a few settings here. But you want to do is you want to go to the stroke menu, and with this active, you want to turn off on curve mode. So but I have the curve press curved mode, and now the button is orange and that means it is on. So it's quick and drag, and now you'll see that we have added tons of copies of our blob brush in this line here. And, of course, you could increase the draw size to increase the size of the blob brush. Insert multi mish brush. So I'm sure you have noticed this already, but they're kind of being drawn out in a free form type of way. But you can actually lock the beginning and the end. So when you drag like we just did the beginning or the end, they will stay locked. So you could see here. This is the free form meth that I'm that I'm talking about. Sincere is totally free form, but yeah, this is controls at Z. All of this that's take and have just a small string of blobs we can see it's totally free form, so let's say you wanted to lock the beginning or the end. Let's see how we can do that to lock the beginning or the end, go to stroke again and it's very simple. You just go to the curve button. Open that up and you lock, end or start. I'm just going to be locking start. So now you can totally see that the start of the blob uh, string of clubs in certain ultimate brushes is locked and it's locked at specifically at the start because we looked at the start. But if you go to stroke, look end Now, you can see these air totally locked. Of course, you can still move them around if you actually click on the end. But that's only individually. You can, uh, move them. So, for example, I click on the end here, the lock locked, other end is still locked and they can't move. But by clicking on it, you could move it so you could go in a minute of here. So that's very less intuitive. Way then, just the freeform way. You would want to turn off the locks in this case, but so you wanted to just and it These two points have them both locked. Now you can move all of the lobs in between them freely. What if you want mawr length, though what you want to dio is just go to the stroke menu, and then you would turn on elastic or liquid. This feature will allow you to pull out and create more length. So it's click on elastic, and now you can see we're just pulling out mawr length. That's what elastic or liquid will do. So elastic. It's more straight. I'm sure you can see that, Um, but liquid more free for So it's we controlled Z that and I'm turning on liquid. Instead, you could see it's now more free form, less extremely straight, like elastic would be. But let's turn those back off. I'm sure you have noticed already, but if you haven't, if you hover the cursor over, uh, this curve line, you can see the cursor, this red circle it turns blue. And so this is a different type of cursor. This cursor just effects the curve itself. So if we hold down S, we can take and see our draw. Size is now changing, but you can see that just affected the draw size of the different cursor. So the draw size of the regular curves of the red cursor the red circle is 80. We go back to the draw size of the curb cursor blue Kurtzer circle and it's 52 Hold down s we can change this size like so now snapping is not making it work out so well right here. It seems to be fine, but of course, this is a cylinder. But if you were working on a model that I had many edges and you know, the snapping just was kind of like it what you want to do, you just go straight stroke appear during off snap, and now the snapping will not be an issue. And see, it's totally not snapping to the cylinder now. But then, if you go to snap, turn back on, you can see No, it will snap back relatively to the cylinder. So if you like your curve and it's turned out well, say you love this string of blobs. The five blobs here light up of five blob. So we just love it. Let's make it permanent. All I have to do is quick on anywhere other than the curve itself. So let's explore further about the curve brushes crispy and your keyboard, and if you press see you will hone down on the curb brushes, you will notice here There's a lot of brushes Kerr Bridge for lave curve, multi tube curve pitch. And these are all curved brushes. There's a lot of curved brushes, and I will allow you yourself to experiment with a lot of them. But in this video, let's figure out, um, one of them. So let's turn on curve, strap, snap and let's see what curve strap snap does. What does it do? What it does is it makes one continuous piece of geometry along the entire curve. So let's figure out what it does. She curve, strap, snap. It's here, one continuous piece of geometry. So if you want to change the size, all you have to do is then change the brush size, and you now have a different can you continuous piece of geometry and quick anywhere other , then the curve itself to make it permanent. So there's a lot of curve brushes, and I hope this video gave you a sample of the powers of all this curvy nous. So have fun. Let's continue to the next video 26. Extracting Shapes: sometimes in G brush, you went to create a new object that not only is placed on the surface oven existing object but actually follows the same shape as the existing object. For this, we can use extractions to copy a part of a model and break it off into a new object. Let's try it out. Okay, so we have our face open here, and that's just zoom into the area in question that will be talking about. And let's try to make some eyebrows on this character. So in order to create these eyebrows as a separate object first, I'm going to create the shape of them with a mask on the exit. Existing object. I'll get deeper into masks later on in this course, but basically it's a way to isolate parts of the model. So let's get a finer draw. Size s on your keyboard and just take the draw size down it quite a bit. Okay. Gonna hold down control on the keyboard. I'm gonna paint on the mask, and obviously this eyebrow is gonna be not so amazing. But it's for demonstration purposes. You can paint whatever kind of shape you want. I'm just gonna make, uh, this eyebrow as an example here. Yeah, now that we have this shape to find weaken, go down under sub tool and where you can come down to extract. So just scroll up here, click on extract, and then we have the options here, so I'm just getting it laconic, strapped extract. And no, it shows a preview of what the geometry will look like when it's broken off as a separate object. So if we move the canvas around, you will notice that the preview is turned up. It will disappear. So if you click extract, move the canvas around, the preview disappears. So let's refine these eyebrows a tad. Let's take and increase the smooth from this level, and then let's increase the thickness level. Now we can extract there, and I can totally see it's a lot more thick, so let's just take that down a bit. Um, just something like that should be fine. And if you take the smooth bliss, smooth this level. No, we haven't more thick and more smooth, and by clicking on extract again, we can see that it's sticking out a little further than what we had previously and also the shape is just a little more refined, a little bit more rounder and softer because we raised the smoothness level. A case Now that we're happy with that, it's quick on extract are sorry, except so now you can see what happened if we go up to the sub to palette is it's created a new sub tool for extract 11 here is created a new sub tool in the shape of the eyebrows and basically what it is. It's the shape of that mask that we drew just broken off and extruded into a separate object. Now it keeps the mask on, and but we can get rid of that by clicking on control A and that masks everything. And then we can invert that by cooking on control and clicking on an open area. If that's too complicated, you can come down to masking. So scroll down here you can click on masking, and now that I'm asking is open, you can just click on the clear button. I don't have to click on it because I already cleared it, but I just wanted to let you know that there's that option, too. So it's closed that masking palette that Zuma back to the some to a palette. Let's increase the brush eyes just a bit. Now that the brush eyes is just a little bit bigger, you can hold down shift and you can smooth it out. So now we have more smooth eyebrows. All right, so now we've got some eyebrows that conform to the shape of the body underneath it. Now, as you can tell, this probably is going to save a lot of time over trying to create this completely new object and then try to sculpt it to conform to the shape of the body. With extract, you can use existing shapes to do a lot of the work for you. So that's it for this video. Let's continue on to the next video in this course. 27. Live Boolean Mode: When I started using Z brush the word Boolean, I had no clue what in tarnation it was even four. However, when you take a closer look is a really powerful feature and very intuitive. It's a really great way to work with shapes. Really great. Everyone agrees. Uh, so I'm just gonna open up this demo head project here just for demonstration purposes. So when you look at objects we use every day, just pay attention a little more and you will see that they're made up of more simple shapes that have been combined or have one or more shapes, you know, that are cut out of each other. This is the way billions work. Thankfully, the actual tools to work with billions are more simple to figure out, then the name Boolean itself. So let's have a look at the power of billions in Z brush. If you want to combine shapes, you have to have two shapes toe work with. Of course, Um, that's kind of obvious, but let's go to upend a primitive. So just go to soap tool Hiller and go to upend. And I'm just going to ah, select police fear. All right, Here we go. The sphere is just taking over this head. Of course, there's actually no particular reason why I chose this fear. It's just for demonstration purposes, but yeah, Anyways, it doesn't really matter what print if you choose. So now it's skill, these models so that they are relative to each other. Just click the gizmo tool and I'm gonna I'm just going to scale this a little bit, a little more nice for the head and you'll see what I'm going to explain here very shortly . It looks really weird right now, but you will see So one thing we want to do is turn on live Boolean mode the button right here. You want to click on live Boolean because that will activate the effects that we're going to achieve. And you can see here in the sub tools here these layer of sub tools. There's different options here. Um, by default, the up the this icon right here means Zahn combined. That is to say that the other shapes that added will simply just add to model. So, as you could see here, the sphere is lobbed onto the site of this face. Here it's added to the face. But let's go right, Just one space here to this icon on the right and let's press it. And now you can see a sphere Lee. Different effect is happening and it's a subtracted mode. Now you can see that is taking out the trunk of the face, and that is in the shape of the sphere. It's subtracting it. Of course, To see this, you need to make sure the live Boolean motors on. So if you turn late Boolean mode off, it won't work. So live Boolean mode is needed. So yeah, the spheres now an object now subtracts rather than adds to the other the face so you can see in life Boolean mode Here it's live subtracting from the model so you can see it really works Well, you can see in real time the shape is cutting out of the face. Yeah, that's enough of that. Let's go back to the draw mode. So now I'm going to append a cube upend cube and you can see that cube is rather large, um, like completely taking up the face. But we're gonna keep it that way. It's going to show you something. So if you press the Intersect mode the third icon to the right over here. So I'm gonna turn this icon back and I'm gonna take the gizmo. I'm going to scale this cube down a little bit, and if you click on Intersect mode, you can see totally what's happening here. The sphere is cutting away at the face, and, uh, the cube is constraining the model into its cube face our cube space. So, yeah, you can see the power of that. But I'm gonna turn the cube back on, and I'm going to scale it back up because I'm gonna show you something different here. And I'm gonna take and put all probably on the side here and now I'm going to just click on the subtraction mood there. It's now you can see totally that it's just basically slicing the face and half there. And there's a big hole in there from the sphere. Okay, So as a recap, what is doing is taking this object, the head model, and then subtracting the shape of the sphere from the side of the face. And then it's doing an intersect with the cube. Um, and you know, Let's turn off Lifebuoy and mode. You can totally see what's going on there so we can see that the Cuba's overlapping just half of the model. That's when we have, like, a 1,000,000,000 turned on. That's going to show us on Lee. What is overlapping. So now the great thing about Liberian is that you can continue to edit any of these pieces billions a really amazing and useful, and I hope you can take advantage of them in your future Work. As you'd imagine, these live bowling effects can get as complex as you wish. And so I hope you learned a lot from this video. Let's continue to the next lesson. 28. Boolean Mesh: as you saw in the last video, we could see that live billions air absolutely amazing for seen adding and taking away and the overlapping of various objects in Z brush. But however, you must realize that this is just Vieux port so far, what you see when you work with life, millions is simply that live billions. So let us see how we can take our live billions and make them as a model set in stone, ready for further editing and sculpting and such. So what we have open here is our head again with the cut out in the cheek in the side of the head with this V of this sphere and and then the cube taking out half of the head entirely. Um and then I have added here a cylinder below as kind of like a pedal stool. So, yeah, if we go up to live 1,000,000,000 turn that off, we're gonna see clearly how that works. But so far it is just alive bullion. In this video, we're going to see how it can use the different Boolean operations and how they can be broken down into different shapes. But so if you go over to the sub tool palette here you can see a tiny little icon. It's like a little teeny arrow by the head icon right here. Just a teeny tiny little arrow where my cursor is hovering right there and you can see that what's going on there? But if you click on it, you create a start group. So what is a start group? Before I explain, let us do it one more time to the pedestal here, below the bust. So now we have to start groups. What is this doing? What are we doing with these start groups? What it is doing is it is creating two different groups that won't interact with each other . And what they will do is it will lock in all these start groups and the effects we have achieved with a live 1,000,000,000 mode. In order to do that, we need to go down to the Boolean sub um, palette in the it's up to a palette. So just click on 1,000,000,000 there's not many options. Just make bully and mesh and DS def. Yeah, before I click on bullion mash, though, I want to turn on DS Dev. What this does is it takes into account the dynamic subdivision levels in the model. So I No, I haven't even mentioned subdivision much at all in this course so far. But later I will venture forth into that realm quite deeply, so cold type. However, for now, let's just consider it is a way of reviewing the smoothness of an object. DS did is just a way to preview the smoothness of an object so that button we just pressed will smooth out model. It is not creating more polygons per se, but it is just making them look like like it's more smooth in the view port. So before that's done, let's go down to the second start group and turn on digestive. Now I'm back at the first start group. So with Ds Div done, it will take into account the extra smoothness done to the model when later we performed the Boolean operations and in fact, let's perform the operation. Now click on make Boolean Mish. Okay, so now what you might be thinking What in the world would that do to you? Yeah, but what it does what it did. Is it combined all those shapes into the two different sub start groups. And let's go see how that happened. And you might be thinking, How the world do we see that you? What you need to do is you need to scroll up and in our toolbox you can see a new mesh, you mesh demo head click on that and you can see now the exact same model has been, um, Now it's just simply a model of this head without the life we turn off live billy mode and it it's just that there's no cubes and spheres uh, getting in the way, but yeah, go down back to the demo head. You can see the cubes and fear spears of the the Cube and sphere are still there. But with the U. S you mash dem ahead has made all those lie 1,000,000,000 edits permanent. The new sub tool is just that It has created these two models the injured face or bust, and then the cylinder pedestal as well. It made these two object into two different soap tools. Why? Because we made two different start groups. Remember? Now the model has been officially boom unified. Now, if you turn on wire frame. You can investigate this just a tad bit further. You can see that all these, um, polygons have been fused together into one model. Very nice. I'm sure you can see the greatness of these Boolean operations now. The generated model from the Boolean effects will result in the fully ready model. Do continue sculpting on and permanently. Now you are ready to continue sculpting to no end without the booing effect, the live 1,000,000,000 effect getting in the way However you can, you can always go back to the demo head and fiddle with the live bullying effects. But now we have made the U mesh demo head, which is very nice. So I really hope you enjoyed this video. Each video gets more exciting about all the new features were learning. But I want to tell you that some of this may be overwhelming. See brushes and you know, it's an event software. So if you ever feel you're forgetting things or need to recap, simply go back and watch the videos again. So thanks for watching. Let's continue to the next video 29. Transpose Master: zebra actually really lets your sculpt a one sub tool time. So here we have this model of this odd looking human and a Z. You can see here in the sub tool palette, the clothes the shirt is in a separate sub tool. So if you sculpt the body, the clothes will stay put and the body will appear out of the close. Very weirdly. Let's just, uh, demonstrate that real quick, bringing the size up a tad. And I just have my standard brush active here, and I just added some content to the pecs a little. And what's really odd is they are displaying through the shirt. I'm going to press control Z, so I didn't want that. Thankfully, there is a handy feature that is called trends pose, Master. You can adjust everything to become one model in a view port kind of way. So let's see how that works to edit this model to the point where if we were to add those pecs again, the shirt would also expand with the chest. Uh, what you need to do? You go press Z plug in appear and then you need to go to transpose Master Then what you need to do is press t pose, mesh and depots measures complete what it did is it quickly went through. And now it's Ah, Vieux port of the entire sub tools into one temporary model. So for go B m v for the move brush and turn on symmetry mode, We can ah, move the picks out here. Little we can move the shoulders up so they have even more bigger biceps. Kind of and whatever Move we're moving here. The entire model is being adjusted, so I guess that's good enough for now, um, we have adjusted it according to what we desire. So one thing to note before I continue is that using the tipos mesh will only take the soap tools that are not hidden. If they're hidden, they won't appear in this temporary model here. So yeah, we can see here the pecs and whatever else we moved in this model have has been all moved as one. The shirt hasn't stayed still. The chest and the shirt have been moved in tandem. So once you have edited your model to the point of perfection, we can go back to Z plug in t t transposed master. And then you just want to click depots sub t. And you can see that that transfer oppose has been completed in three seconds. It completed the whole process of making the chest a lot larger. So it's very nice feature that have in zebras transposed master. It's kind of like the live billions in a way is instead, it's a live view of all the sub tools. Uh, we just press tipos sub tea, and it will make all the sub tools and put them back into their separate sub tools and all the adjustments that have been made. Of course, one thing I want to tell you is, ah, you can use the gizmo as well and press this button right here, transposed, all selected. And then it will scale all of the models in previous versions of Z brush. That wasn't an option. The gizmo was not even there. So you had toe go into Z plug in transposed master and do all that just to scale it. But now you could use the gizmo for that. However, the transpose master remains very handy tool for the purpose of, ah, organic sculpting. So that's it for this video. Thanks for watching. Let's proceed to the next 30. Editing Text: in the past, getting text into Z brush meant creating it in some other programs and importing it. Now, you could do it pretty much quickly, right inside Z brush. And it's very easy within self first. So let's see how we can put text into our canvas so it doesn't really matter. Model I have open here for this video. I'm just showing you text editing. So I just have this simple sphere open here right now. Uh, because in this food, I'm just going to be simply placing text in the scene. And that's what the lesson is all about Here. Now, to place text into the scene, you need to go to Z plug in first So quick on Z plug in and the new me depressed text three D and vector shapes that opens new pilot here. So once you have a text three the and victor shapes palette open, you need Teoh click. Create new text just by simply clicking new text, and we're just gonna press test here. Okay, press enter. And now your text is in the scene. We're gonna want to put it above this sphere here, so we're just gonna do that. All right, so now that we have some text created, the size is pretty arbitrary and the position as well, eso After creating it, we can quickly modify some settings here. So let's turn on Polly frame so we can see, uh, something's a little more in detail here, going to z plug in. We can go back and see our text text, three D and vector graphics and this settings. So there is actually a lot of sittings here. There is extrusion. What this does is it scales things up a bit. So if you if you do, ah, extrusion, it will make the text or thick. And then there is spacing. Obviously, that's the spacing between the text resolution is also nice. Um, and you can really only tell almost this what you're Polly frame, That's why have it open. But it takes and, uh, makes you have a lot more, um, Polly polygons in your text. So, yeah, if you're text looks a little blocking like this, just turn the resolution up, and it will make it look a lot more smooth. So there's an adoptive option here. It's also nice when this is done. It removes unnecessary polygons. So in the strait areas, you can see that these polygons don't really needed so with adaptive mode, it gets rid of those. So see, you have a bunch of polygons in the strait areas here. Very unnecessary. Goto see plug in and turn adaptive boat. And now you have just two polygons in here where there was tons. However, I'm going to say if you wish to sculpt on the text, that is a good time to turn off adaptive mode because then it will allow for more polygons to help smooth things out. But and with the text, you can also add some bevel. I just, uh, scaling up the bevel here and there. And you can also increase the devils resolution if you wish. You could also change the curvature as well. If we bring the curvature down, we will get a con cave. Ah, curvature. And I'm going to increase the bevel resolution. We can see that a little bit better. And then if you bring the curvature up, we get a convex curvature. So it's a little more smooth. See if we turn off Polly frame concert. See that just a tad bit better as you can see off this text editing. It's pretty straightforward. You can even choose different funds. Just go to Z Plug in and your your font selections are all here when you happy with the result, all you have to do is go into your gizmo and size. It rotated. Position it however you want. And it's that easy. Thanks for watching. Let's continue to the next video. 31. Folders: For a long time she brushed, did not have folders. All the soap tools were just sub tools and could only be sorted in this way. You know, from scrolling down to see all the sub tools, you could only sort through sub tools in this way. But now there is a remedy to this long list that has plagues e brush for decades. All the while, you know what I think is funny is all. All the while, other Softwares, even in their simplest form, had folders. Having folders is really useful. If you are a lot of sub tools, Fuller's help you. As you might imagine, they can group your sub tools and then then further you can tweak cool groups of sub tools using the folders as well. So let's see how amazing folders convey be and how they can be used to make a folder. You need to select sub tool first of all, so I'm gonna select demo soldier. So you need to select one. You want to be in the folder and and then you can come down here and just click new folder . And then here we have ah place to enter name so I'm gonna do body, because this will be the body folder with just the body or an anatomical features. And I'm just using the regular demo soldier. It comes with Z brush. Uh, lightbox should show this is an example. So now you have a folder here, and it's named Body, and it has the demo soldier in it. But I'm gonna go ahead and create another folder to demonstrate things further. Uh, so I'm gonna click on this shirt and click new folder and name it clothes. And so we have our shirt in our closed folder and are did nobody in the body folder. So what If you want to add more sub tools to a folder, all you have to do is click and drag, and then you can move your sub tools into the folders. Let's click and drag the vest into the folder and you can see here, uh, in the close. Fuller. This line indicates that it's within the folder. So I'm going to go ahead and take and add all of these clothes to this close folder. Lots of clothes in this model. All right, so all the close air in the close folder. Yeah. What? If you want to rearrange subtitles now inside of folder, all you have to do is click a drag and you can arrange them in the order that you wish very easy, like this best it's above the shirt. So I put it above the shirt. Backpack is above all that. So I'm putting it above that. Yeah, you can organize it quite well. Just drag and drop. Now, if you don't like looking at a long list of sub tools, you can simply click on the folder and it will could collapse down. You see there, Fuller's now collapsed down. Click it again. Expands collapse. Yeah, Once it's collapsed, you could be less confused and look at less soup tools at once. Once you were working with folders, you could do some nice little extra things that might overlook first glance. So first of all, you can hide an entire folder. So let's click on the body here. But on the reason why we clicked on the body is because I'm gonna show you something about hiding. So, for example, if we hide the clothes and we have backpacks selected, it will still be visible So let's go quick on the body. You can collapse the folder and hide the clothes. Yeah. So that's how that works. You can hide entire folders. Another option you have with a folder is this little gear icon here. Right here. If you click on the gear icon, you can see there's a few things to do. Yeah, quite a bit of things to do. Don't worry. We're gonna be going over them. So something interesting that you could do is you could duplicate an entire folder. So say we wanted to duplicate the clothes and have a whole entire seven close? No, they're set of clothes just quick. Duplicate. No, there are some things you can do with folders is have them merged. Say, we did duplicate the You know what? I'm going to duplicate the clothes demonstration purposes. Now we have two sets of clothes. We make one set of clothes invisible and it's still there. So, cooking on the lower folder of clothes, we'll show you the next thing that we can do. We can merge folders, you can merge a folder and now you can see here. This folder created a separate sub tool. So the entire contents of the folder is now merged into one sub tool. But, uh, let's go ahead and delete that. Another thing you could do is you can show and hide. Polly paint will be getting more into Polly paint later on. But this is how you paint models you can show and hide in your paintings of an entire, uh, folder, all the sub tools in a folder. Another thing you can do is rename the folder, So I'm going to rename this folder too close to your center. And now we have folder renamed Closed, too. And like we have discussed before, you can work with billions an entire folder. Of course you can delete a folder, but the leading a folder just gets rid of the folder structure so all the sub tools would still be there if we deleted the folder. But if you press delete all, it will do it. Everything you can see Ideo Guida doll And now we just have our regular clothes. Fuller, back we deleted the second folder, so now I will show you how to move multiple sub tools all at once inside a folder. You can click here go to trans pose set, and this will you can make. Make it so you can move the entire clothes. Um, in a folder, actually quite useful, you can transpose add to add other Fuller's into this transpose selection. And then you can also transpose subtract to remove folders from this letters Quick on the transposed add. So now we added the bodies now literally every sub tools and then ah, transposed subtract means Now the body is only thing that can be moved. So that's the transposed selection is quite nice indeed. Okay, so that's what you need to know about folders. They really help me keep everything in order. Almost everything I do now in zebrafish now goes into folders. Obviously, you can see the power of this. Now we know every other software has had ways to keep things organized like this for decades. And Fullers. But it's nice that see Brush has finally caught up and now has folders. Thanks so much for watching. Let's continue to the next video 32. Selections: when you were working in Z brushed, you will find that your bottle is visible. You might be thinking, What's the point of view saying that? Well, it's nights. It's nice to see what you are working with, and it's obvious that your model is visible, of course, but at the same time, you might want to have parts of the model or maybe the entire model hidden. So let's learn more about this. It might become useful when you're trying to isolate areas that you would only wanna focus on eso. You could work on focus parts of your model to add details only to a visible or, you know, the selected area. For whatever reason, you want to hide things and zebra. She really do need to know how to do it. So that's this video. Let's learn how to hide things in D brush. So let's select an area on this dog that we want to work with for this model. Yeah, we just have open here, this dog, but so you want to select a certain part of this dog's body here to work with just one part of it? So how are we going to do that. So let's just let's so select the head, OK, so hair on side angle here. So what you want to do when you want to select a certain part of a model, you want to hold down control on your keyboard and then while holding down control, you wanna press shift and then you can just drag a box. Now you can see what it has done. It has selected the head and hasn't made everything else hidden. So for this dog model, there's only one sub tool the dog itself. But you can turn on solo mode, and it would make it so All the other sub tools air hidden as well and solo mode is this button right here, solo mode. Then we can press F. Then we can focus in right on the head that we have selected here. So I will show you now how all of this works just with some simple sculpting. So I'll just add some details here with my we come tablet in a press X to turn on symmetry mode, and I just did a very simple stroke here. In a way, I probably ruined this dog's head, but this is what we're gonna do. We're just doing some simple strokes here, and I'm gonna emphasize the strokes at the very edge here, and you'll see what happens. It's now that you have sculpted the head of it. What if you want the rest of the model back? What you need to do is, ah, press control shift. But instead of selecting the model or having your cursor over the model needs, put your cursor over in the open canvas where there is nothing and and then you just simply need to click, and that will bring your model back in a press f. Now we have but the dog. No back now I really recommend, though, that you don't have abrupt transitions at the edges. When you isolate parts of model, you can see here this Nick it is like a tumor type thing here because the sculpting brush didn't work out on this part of model because it was invisible. But it did, and then So the edge years quite abrupt. So I recommend you watch out for those edges. So that was fairly simple, wasn't it? But there is more advanced ways of selecting hiding things So let's take a look. So when you press control and shift by default, you will get the rectangle Basheer active. You can see here it's the select wrecked brush. Another brush you can select Here is the last Do so select last Do we have our last sewer selected here and with the last Sue, you can basically last two entire parts of the head. It's very nice if you think of Photoshopped. Um, the last two can come in handy. Say we want to take a chunk of the back there. Yeah, last year was useful. I just want to show you that with the last you could make more sophisticated selections. And, of course, if there was more, polygons would be more precise. Another cool trick is to invert the selection. So let's take a look on how that look works. Take the last soon Select the head again and say you wanted instead of the head join but the head to be invisible and the rest of the body showing what you wanna do is control shift and the cursor in an open area. Click and drag and then release everything. Let's do it again. Control shift quick drag lease that That's how you invert the selections. Yeah, to restore the visibility to its former glory, you can just press control, shift and click press F two being everything and focus. So just remember the control and shift keys and the Quicken dragging. You should be good to go, All right. That's so selections work and how it can hide parts model. Let's proceed to the next class. 33. Working with Masks: when working NZ brush there will be Sometimes you want parts of your model not affected. When you are sculpting it comes The power of masking power of masking can change. All of this is what makes it work. Masking is the most popular feature of Z brush in my world. So that's a broad statement for just telling you that I like it, but let's see what it can do. So the most basic way you can mask is to simply paint on mask. Now I have my we come tablet pin here, ready to show you painting on a mask is achieved by holding down control. I'm holding down control and I have symmetry on uh, it's could be hopeful or not. I'll just keep it on for now. In fact, before that is gonna zoom in a little bit chest area. So symmetry on you Hold down control on your cue board. This switches to the mask. It even has plus mask on it. It, um it's a red circle, typically and turns yellow that that really helps to indicate that mask is activated by default. It is the mask 10 that is activated so literally it's where you can paint on your mask with the mask pen. It's straightforward, so I'm just masking this. Just area the pack muscles. So let's say you want to protect a part of the bottle. Um, see what we want to protect Control Z that, uh, see, let's zoom out a little bit here and figure out which part of this model we want to protect . Um, it's just a very basic based mesh model. You can download it in. The resource is section of this video. It's actually hard to figure out what I want to protect, but let's just protect the pec muscles. So, like before, um, I'm painting on the mask on the pec muscles. Okay, Now the pec muscles are protected, their masked. Once you release the mass scary, it is now masked, and nothing happened will happen to it. The mass scary is totally protected from edits. I'm sure you can imagine the happiness that most CEBR ushers have when they use this feature, because it's really helpful talking serious. Something I would like to say now is that is very simple and easy to invert. The mask that we have here on this these pec muscles to edit just the pecs and not the rest of the body. All you have to do is simply hold down control and then tep in an open area. It's very, very easy. So now the entire part of the body is no, except for the pecs is now masked. I pressed left to come out to show you that back in two pics here, little snippet of knowledge you might have already thought of already since watching the last video is that it is different than house elections. Work with selections. If you want to invert your you press control shift and then click and drag an open area on the campus with masking, it is totally different. And if you do the selection method, it will remove the masking all together. So let's try that control drag, and the masking is now gone. Controls these. So bring that back. So, yeah, the truell click and drag takes the mask and makes it not there. So, as you would expect if you begin to paint on the model where the cursor is over, um, the model, it will paint the mask on. Yeah, as you would expect the cursor is just on the model here, and the mask is now being painted on because the cursors on the model it's very obvious. But if you start painting where the cursor is off the model and then hold down control and click and drag, it will make a masking box and it will make it so you can pick entire parts of your model and mass them off more quickly. Like so. So this whole chin. So let's just take, um, come out. We're gonna could control, click and drag over the head. And now the head is masked. Click drag. Yeah, and it's very nice. So to achieve a and erase tool form asking, you just have to hold down ult when you are asking So control ult. And now you have an erase tool. So just like just like anything regular masking, controlling out is the inverse like most things in Z brush. So now you know how to paint a mask and how to paint away a mask. So that is getting just a tad bit deeper into the subject at hand and learn more about masking the power of I'm asking. I'm sure you've noticed. And if you have not let me show you these mask have borders that seem sharp at the edges. If you wish to have them, such as, you know, if you wish to not have such a steep cut off, you can soften it up a bit. So let's play around with some settings. You can blur the masked by going to the masking option. Just go over to masking, click on masking in the Screw This up just a bit. So with the masking feature we have here, we have some nice options available to us. Some settings clicking on Blur Mask will make the edges completely smooth and blurred out, so there's no hard edges there. And, of course, the inverse of this is sharpened mask that will make then the edges a lot more sharp. Also, instead of doing the complicated keystrokes for inverting and clearing, you can just press these buttons. Aziz Well, clear mask all Maskell is useful, masking the entire model in verse clear so there shouldn shortcut buttons if you don't feel like doing the keystrokes. But I highly recommend the keystrokes, and if you have a hard time memorizing the keystrokes like I did. Just put some sticky notes by around your computer, and then we'll keep that knowledge memorized for you on your behalf. So let's keep on diving in while we are hot. We can't go back now if you hold down. Yeah, so don't positive you'll keep watching so longer when I know. But let's keep going. If you hold down control and then go over to this mask brush, you can see there's many options here. So it's just like other brushes and Z brush. There's many options for brushes. The mask circle here is a good one to use. You can just click and drag out a circle, so let's take a look at that clicking on mask circle, Click and drag out a circle that's useful. The mass curve is a little bit funny, so with curve masking ways you can. Let's activate that, and I'm going to click, Um, clear. We clear our mask. That way I can show you a little bit better and control. So with this, it's fascinating. You drag this out and one when Oh, I have symmetry mode on. So let's turn that off. And one side of the model is now masked. Of course, the inverse of this can inverse that really says That's nice. So with this brush the mask curve, you'll get kind of a line of demarcation that will mask one side and the other it will not . So this curve mask feature. You can step it up a notch as well. So if we start a curved line like before, um, so we're starting this curved line you compress Ault, and that will indicate where you will add the curves. Prissy note. Oh, out out old boat Hope. Yeah, so it's very interesting and useful brushed the curve brush. It's called Kurt Busch, for obvious reasons, so I'm not done with this Goes up even second notch as well. You can create hard edges also, so control, and we can begin our curve brush Now. This time you double click out, and now it's hard. 90. Even do a 90 degree angle if we wish, and it's a hard, hard edge there. Double quick DoubleClick, DoubleClick, DoubleClick. It's completely different than the curve brush. It's now very sharp edges brush. It's but so as you manage in this brush might be best years with architectural models and such, like you can grow and treat Basques to. It's just causes a little bit of blurs. You might have to sharpen it a tad if you do that. So go mask grew at the growth mask chucking mask. After that, it's actually experiment with that. So let's take the circle mask to place on this circle. Here, you can, uh, grow mask, and you can see it definitely is not sharp it so you can sharpen the out grow mask. Put it out. That's useful to know. Let's keep going with this topic. I know it's a longer video, but masking is such a pivotal part of See Bush. You must keep watching. That's so let's keep exploring the sittings here. There's another brush here. Let's go get it. It's called It's called Mask Last. So so with last. So it's fairly straightforward. You can, um, last two out masks here, just like in the selections we saw last time. This can be useful. It's less tedious than the curve brush. If you want to quickly take out a circle type mask or something like that, if you have your used food or shop last so tools actually really useful. I'm sure you can understand the power of this, so there's also a perfect circle circle brush here. Perfect circle. With this, it will always be a perfect circles. You take the cursor and put it over the point where you wish the circle to start, and it draws out a perfect circle. It will always be a perfect circle. Without fail, it won't become an oval somehow. Then there's also mask wrecked mass. Correct is can be a rectangle. That's probably why they call it mess. Correct. It's a stand. It's the same as a standard brush. And you might, you think, What's the difference? So the difference between the standard brush and the mask wrecked is that the mass correct will only allow a rectangle and no painting. So hopefully that makes sense. Then there is the Mask Square, and this draws out perfect square. So let us imagine for a second that you went to sculpt without the mask color. So let's go to mask. Let's drought this perfect square. But let's say you want to sculpt without this square. It's kind of distraction and inhibits your vision of the sculpting experience. You know this dark area, this color. Let's say you want to just get rid of that and and yet you wanna have the mask Still there You can turn off the mask of you port by clicking on view mask. So the mask is still there. I'm sculpting, and it's very obvious that the edges of the mask are still there. But few mass can turn that view port off and on. All right, Thanks for watching this video. I hope this video has been really helpful for you and that you learned how to keep parts of the model locked in with masks. The hardest part is to memorize the keystroke shortcuts. So I suggest you make some sticky note and place them on the wall behind your computer to remember better. Thanks watching. Let's continue onwards and foods. 34. Making Polygroups: the last two videos we did was all about making parts of your model hidden so you could focus and work on one part at a time. So that is all great and good when you went to work with just some temporary edits. But what if you want to permanently make a part of your model separate from the rest eensy brush? This is called a poly group. A policy group is a way you can come back to a selection or mask, and you know, there's a plethora of other great things you can achieve with public groups as well. So let's see all what you can do with poly groups and, for that matter, how to make a public group in the first place. So with our model here, we can turn on Polly Frame and it will show poly groups just go to poly frame shift F Shift F turns a polar frame on and off and sorry for the unattractive model. But it's just the basic demo soldier model in Z Brush Here it has some nice Polly groups, So with our model here, we can see that there's many colors and what these colors air showing is that parts of this model, the polygons, are put in different two different groups. These polygons. They're all in these different politics groups, Polly. And with Polly Frame, we can see that it is a really nice way to keep organized and keep your model in different groups for easy at its entrance that make working with three D in zebras, much faster making poly groups or simple or at least more simple than one might think. Using the knowledge we gain in the last two videos, we can make masks or selections to make poly groups. So let's try the selection round. Let us make a selection over a part of this model. So let's choose the head again. Hops gonna go up here. We have the head here, hold down control and shifting, click and drag over this part of the model. The head here. Now that was very easy enough, and really until to do that in the last few videos. But now what you want to do is press control. W What that does is it makes the head into its own public group. Well, it's press control shift and click on open area, and that has made the head selection into its own poly group. The old head selection in the better head selection, uh, starts around the collarbone, but the new one where we just masked it by doing it a simple method, Um, control w and control shift clicking open area. And now we see how this works Control W. It makes the active or visible part into its own poly group. So let's try with masking its very similar Just hold down control and let's mask on an area and you could see instead of selections. Masking allows the rest of the model to be still visible. Then, like before we just control W. And it makes the mask into its own poly group just like selection. And one thing I might suggest is, of course, this pink and purple. You can see the difference, but sometimes it's hard to see the difference. So if it comes out with a color that you really like, you can just press control Z and try again. Well, great. Now we know how to make poly groups that is explored further because making probably groups doesn't end here. So now let's explore now going down in the right side of the palette. Here we here we see poli groups. There's quick on poly groups drank that front and center. Let's take a look at all the ways we can work with, probably groups with the power of this sober palette. So I'm just gonna press f to bring this in front and center. You can see it. And if you just press auto groups, so yeah, auto groups actually doesn't work right now because the whole entire body is one piece of three D object. But say there was two parts to this model then it would take the two say the legs were cut off here somewhere. Somehow then it would take and create different public groups for the different parts of the model. Grouping by normals is going to take any parts of the model, has obvious, um, angle angles and create different poly groups for it. And for this model, I'm trying to find if they did any. Apparently it did not. So let us, uh, what you can do is change the angle range mint group by normals, and now that changes things. And it's actually quite messed up on this model, but you can see it kind of worked with arms here. Grouping by front is kind of nice. Basically, what it does is it takes the front of the model and just puts it all into one group. You can increase the angle tolerance grouping front, and that will make the public group go further than just the front view. Poli groups can be used in a myriad of different ways. They could be made into selections or masks. UV layouts can be done with it them, and then I will explain later in this course with those are the borders between probably, groups could be used to create curves or details, and I will also touch on that later in this course as well. So that's that for this video. I hope you learned a lot about Polly groups. Let's move on to the next video lesson 35. Polygroup Selections : guess what. We're gonna be working with this nice attraction model again. Away selections. Well, we know all about selections. By now, control, shift, click and drag will select an area of model there. We have this top bust type thing. So I selected Control Z through that were not entirely going to be talking about that in this video. Uh, I'm gonna turn on Polly frame here. So what if we wanted to select based on poly groups, selections and poly groups can work together. So this, you know, we can see here the poly frames and we can see that our model obviously has different power groups like we saw in the last video you can select by Polly groups. So we have our model appear with the poly frame on, and we have different, probably groups in Mo. To select just a single policy group, you can simply press control shift, and then you can click on Apollo Group, and that will make that part of a model selected with this one probably group on the screen . You can inverse this selection by pressing control shift and then click on the visible polygraph. And so now the arm, the right arm is invisible and the rest of the model is visible, so the inverse has happened. Now this gets a little more advanced, and so what you can do now is control shift and click on parts of the model, and they will go away. But I have to mention here that the last part, if you control shift and click on it, it will now inverse and the rest of the model will show up here. So that's how that works. To remove all of this, you just go back to basics and control shift and click in an open area that things are back to normal. So have fun with that. Let's keep going on to the next video. 36. Gizmo Masking: masking selections and polar groups are three great ways you can organize your three models and Z brush. Each of these features could be used in great ways and interchangeably. For the most part, if you really wanted to, you could make a poly group from a mask, then converted back into a mask. Let us adventure on words in the lands of Z brush and learn just a bit more about all this . When you have Polly groups, you can have selections from these power groups like we watched in the previous video. But there is another method, and that is to take and turn on gizmo. So going over to gizmo, we have turned on gizmo. Now press Control Unemployed group that you want active. When you have a gizmo selected on a public group, it will make it mask are not masked, I should say, and everything else will be mast. You can invert this by pressing control and clicking in an open area. So I just wanted to show you that I know this video is a bit short, but I wanted to tell you about the gizmo side of things and masking with holly groups. Let's continue on to the next video 37. Advanced Masking: the previous videos we learned all about masking. Now let us step a little further into this realm and see what more we can do with masking masks can be, of course, painted on, as we have learned thoroughly in the previous videos. But in this video, I want to teach you how masks can be generated onto this rhinoceros via the details and shapes. So let's learn how to do this. This method will in fact work best on models that are like this rhinoceros that are more organic in nature, with lots of details. Let's go down here to masking breast masking sub palette. Begin up to your division so we can see. So the first option that I want to talk to you about is called Masked by Cavity. Mass by Cavity makes these little details that are the cavities of the model masked. So let's click on mass by cavity and just click Hi, and so you could see here there cavities of this model are now masked. You can I'm sure you can imagine the usefulness of this type of feature. Yeah, so mass breakout. But it makes it so. The little details in a model that are sunken in will be masked out. One performing this operation. You can play with the intensity slider right here. So if the 10 city sliders all the way negative 100 will be the opposite, of course I want to mention that, um, this intensity slighter is really only useful when it comes to the middle areas of the intensity slider. Because all the way 100 is like that, and you can simply control click in an open area, and it will inverse it, creating the same effect as negative 100. So, yeah, when we invert this mask, the cavity areas air now unmasked and the rest of this model is masked. There's also a blur setting here, but you need to keep in mind that the higher it is, the less blurry it will be. So let's just try that 28 blur. Let's try 59 Blur. About 100 blur Moving back toe. One blur. You can see the less blur there is our well, it's hard to understand sometimes, but one blur means it's blurry. 100 means it's less blurry. So I'm sure you can imagine this mass bike heavy future could be really useful. If you want to really exaggerate the details of your model, making the raised areas more raised in low areas more low. Let's move on to some other options here. Masked by ambient occlusion, it is similar to mass by cavity, but the surface defeat hill is more general nature, and it's just you have to think of more larger shapes. Ambient takes ended. Inclusion takes a while the process. Sometimes, that's why not won't do it right here, but I just want to point out this option you can play with. And, of course, if you have an inclusion all the way up, it will take a very long time to process. This ambient occlusion features more useful for painting texture maps, and I will get into that later in this course. But, yeah, it could be used for details various that are larger than the mass by cavity option masking . Adjust. Click on the mask profile here and you can think of Photoshopped or curves or levels and Photoshopped by default. It is black and white, but if you play with this later, you can get different effects. Then there is ah masked by color. Of course, we learn more about that when we actually paint in the brush peaks and valleys When I clicked on peaks and valleys. Now, just the very little teeny, tiny peaks of this model are, uh, masked. So, you know, a lot of Z brushes all about playing around and learning its features and the masters of Z brush, I'm guessing, for the most part, have done things like that to learn new things. I hope this course is more of a guided tour, you know, to so to speak and a way to spark your interest in your imagination. And I want to challenge you to learn something new. And every day in Z brush. Of course, the purpose of this course, You just show you how to even begin with all of that, how to use its features. So if you have made it this far in this course, I want to conduct congratulate you because he brushes not easy. And so I just want to encourage you to keep going. Keep watching this course. It is far from over. There is a lot more to learn. So that's how we create masks using those settings, and it's basically just a more advanced way than just painting on Mass. So let's continue on to the next video. 38. Masking with Objects: Here is a quick video covering the functionality of intersection massacre. Plug in for Z brush After you have the plug in installed and you have Z brush months launched, you can just need to navigate to the zebra plug in tab up here and then you'll find intersection massacred. Now the intersection massacre plugging it allows you to generate a mask where geometry islands on the selected sub tool. So, as an example, let's say hi of the head here, little up and this is currently a single sub tool, so I'll switch to the move option Here on now I have the gizmo three d. I'm gonna press X and the keyboard to disable symmetry And now I want to over over the move area here on the gizmo three d You want to hold down the control key and I'm going to click and drag? This is going to perform a duplication function. And so now I have created a second head, a copy of the head and, you know, I just kind of angle it here, positioned it onto this other head here with from the original, of course. Um so now just clear the mask their control drag. So now I have a sub tool with geometry islands, and basically what that means is there's two different shapes. Geometry, islands. So I want to make an intersection here where one of these heads greats a mask. So just go to Z plug in and click Create intersection mask button and it will go through and look at the two geometry islands. It will generate a mask where the two islands intersect. So I now navigate to the tool palettes here and go down to the public groups and other groups. And so now we can control hope, hold control, shift and click on one of the heads, and it will have a nice mask where the other head waas and is it has created an intersection mask. So I hope this video was helpful about how to create masks using any shape you want. Let's continue. 01 thing I wanted to mention was that I wanted to warn you. That has some limitations. It doesn't like subdivisions, and it doesn't like objects with holes in it, so you need to have solid objects as well, with no holes in it. So let's continue on to the next class 39. Intro to ZModeler: for a good amount of its life. Z Brush has been a software there was not really meant for adding the finishing details to models. In fact, it started not even as a three d sculpting software. But that's another story. Yeah, it's generally considered a software, for it was generally considered a software for creating basic models and then exporting to other software for later rendering. Thankfully, now, though, see brushes more defensed, and it's ready to work with polygons and for Texas and edge level editing that previously it was not able to do. This is done with a special brush called Z modeler brush. So let's take a look at the basic uses of this brush and how, in fact we can use it. So we have a low Polly model open here, this pill kind of thing, and it's best Z modeler is best to be learned with a low polly model. So to activate the same volunteer bus, you just simply hit Z are I'm sorry, b and then, uh, be Z m. So now we have see modeler brush available. Oh, and then, of course, let's turn on Polly frame so we can see that little better. So let's move our cursor over these polygons. As you can see, we have some highlighting going on of the faces of these polygons and of the edges and the Vergis ease. So that is all good and well. But what if we want to see what these highlights will actually do? Well, what you can do is press space bar. Let's move to this edge here. And if we press and hold down, See, I've released space bar suppress and hold down space bar. And when we have space by pressed, it will bring up a pop up that will show you other things that can be done with the highlighted part that we have. So this edge highlighted part space bar will be affecting it. Yeah, so we see a myriad of different options and things we can do to set this point. We have selected different actions, though, happened when you have different highlighted targets. So, for example, when you hover over the middle here, this point press space bar, completely different set of options happens. Same for this edge over here. Well, these edges air the same, but and then if we just hover over the the polygon, uh, itself and the corner polygons. Many different options for the different points. Yeah, so we can see many options, different modifiers that will change things. Every single option here will do different things to the Polygon. So let's take a look at the edges option here, holding down space bar on the edge here. We can see, of course, the same type of pop up with different actions or modifiers, um, the same type of pop up. But except it's, of course, different actions and modifiers. So later in this course, over the next few videos, I'll explain in detail the many options and how to use them. Well, not all of them, but the most prevalent wins. The main purpose of this course in this video and his next videos is to show you how it's done. But in this intro video of the sea modeler brush, I want to show you one particular thing called Do Nothing. So we have do nothing selected. It's now when you have do nothing on this edge. Now clicking it there will appear nothing. You have to be careful in case you want to do something on that later. We need to make sure do nothing. It's not turned off. But do nothing can be useful. Maybe kind of cloudy or you might not understand why Right now, later on, we will see. Well, that's that. I hope you get the basic idea of how the sea modeler brush works. Over the next few videos, we will learn all the details about all of this stuff, so let's continue on and learn all about it. 40. Adding Edges: in this video, I want to share with you a really, really useful feature where you can edit polygons specifically. This feature we're going to be exploring today is a really nice way You can get specific about the detail of your polygons and affords high levels of details. So let's take a look at how we can use Z modeler to make this all work. So I have ah shape here. Ah, hollow cylinder. I'm going to turn on Polly frame here. So with Polly frame on, we can see what's going on. You could see there's a lot of polygons, uh, long polygons here that we're going down vertically down this cylinder to sculpt. Well, you need to have a nice even surface on your models. So let us play around here and make our cylinder a sculpting paradise To activate the powers of Z modeler brush, Just press be for brushes and then Z and m we have the cursor now hovering over the edges. Here s what you want to Dio is just ah, picking edge here. I'm gonna pick this edge. Um, right here. So just press space bar and we're going to select the insert. So we have insert selected. Oh, and then also single edge loop should be selected for this. So how this works is when you have clicked on an edge, it is perpendicular to the edge you went to insert. So let's just add a new edge here and you can see it's perpendicular. You click and drag, and we have added a new edge. So when we add a new edge, what you could do whilst you have the mouse button clicked. You can move the edge up and down until you are satisfied where it is and then just released the mountains button when you're happy with it. Say we placed these edges and we didn't want them there. You couldn't remove edges as well. Just hold down the old key on the keyboard and click those edges and you can remove them. And I was explore what we can do more with edges here in different ways over over an edge that you wish to edit here and hold down space bar. Now go to multiple edge loops here for this video. I'm gonna leave all these settings very much the way they are, but we need to have for this interactive resolution activated. Let's see what happens with an interactive resolution so you can see here as you click and drag out. It's dragging out, um, evenly a bunch of new edges for these polygons it. So it's quite useful indeed. I'm just gonna press control Control Z twice degree of those changes toe holding down space bar again specified resolution is also interesting. You can set them out you want, and it will place the exact amount of edges in there that you set. So that is just a few ways of taking polygon density into your own hands, where you can insert delete. We're really getting into the details now, so thanks for watching and hope you learned a lot. This is a great way to create complicated shapes also, and also how to simplify shapes if needed. All right, so let's continue to the next video 41. Closing the Holes: another awesome way you can use polygon level editing is to repair the bridge. You can be the conduit of glory that shall close the unwanted holes in your models. So let's see how modeler uh, let's see how z modeler can help us. So we have our model loaded up here. Just a simple pill here, But we don't want these holes. We don't want the valuable medicine being poured out of the pill. Of course, this could be a huge pill. I guess it's up to your imagination, but, um so, yeah, let's figure out how we can close thes holds here. I'm just going to do minute had so these air definitely pesky little holes in a zoom in on one of them Once hide of them here, they're just not good for business. So we need to close them. So remember, you need to activate Z Modern the brush Z B Z m, and we have Z Mattarella brush activated and press shift F to activate the, uh, polly frame so we can see the what? What the hell we're doing. No. Um, yeah. So let's go over to edge here. We have right here. Edge go and go toe edge with white Um, line is indicated that you're hovering over the edge. It's press and hold space. Far clicks close and we're all good. So just click it. And now you have. We have closed the breach. Yeah, so awesome. Now there's no more holes in this pill turning off Polly frame. We can see there's no more holes now. It's a bit bumpy, so you'll have toe do some smoothing stuff. Of course, highly detailed models will definitely need a lot of work, but that's how you close the holes. And it's a pretty pivotal piece of knowledge to attain, to be able to know how to close the hole, because that's fairly self explanatory. But I've worked with models before knowing this, and I got really confused. So this is important. Let's swoop in here in a control Z. We're gonna see some more fancy things. Shift F to Polly frame back. Second way to close. The whole want to show you now is to hold down space bar right over the edge. Here, hold down and convex hole, and we'll leave it on spying here. What splitting does is going left to right takes and, uh, moves it in and out and going up and down, up and down gives many the polygon count what I'm trying to say stumbling over my words. But yes, we're going way up way out can create a really weird thing and then going just a little bit out with not adjusting the polygon count much, You know that and then shift after So that really created some odd shapes, as you can imagine, Um, I hardly ever used this, so I generally just, uh that's good. I generally just stick with the con came hole. But I wanted to show you the other for consistency. To feel free to run around just like a little kid. Figure out what Z brush is all about and, you know, play with all the settings. 01 thing I forgot to mention something important shift space bar convex will explain. Basically, to sum it up, explain is ah, very curved circle arcs and just go to the right. One line quick on one line, you can see here so you can see it affected. It's not so steep. Basically, the idea behind that is it's not so steep. so spine is very sharp. Hi. One line is all the way. Not so steep. It's more curved when you bring it out there. Like that. Yeah. So, anyways, that's that, Um That bothers me something to go back to, um, concave hole. Fill those. All right, enough talking. Have a good day. Thinks I hope you learned a lot. Um, let's continue to the next video. 42. Polygon Extrusion: working with the shape of your model can be really enhanced by using the extrude feature of the Z brush Modeler brush. Oh, sorry, Z modeler brush. Um, this video will be all about how you can create shapes and add volume to your polygons. This polygon level editing is really useful. As I'm sure you have already figured out in videos so far. So let's get into see modeler brush is active right now by it can be activated by pressing B Z and M. Now we have Z modeler brush activated and we have our ball here. Ball of polio owns and we have you have fresh shift f to turn on Polly frame so we can see our polygons really nicely. That's just a two minute bit. Figure out what we're doing here. So with the sea modeler brush, you could extrude goodness into the polygons of your model. But Z brush does not stop there. There is an extreme level of sophistication as usual that can be applied. Z model extrude has some secrets up its sleeves. So let us hover over a polygon here. You can see the options here when we hover over this probably gone So you can see here these little orange air, um, lines. So there's this middle point And then there's these orange orange lines. Um uh to the right, down left And they point outwards. Yeah, that point outwards from the center point. So that is take our cursor. And with this orange line activated and ah, let's press down space bar. Well, what we want to do is press extrude. So having extrude activated, you can take and we can you click and drag quick and drag up and down. You can see it's now extruding way in or way out and extrude works both ways. So we have extruded inwards now are polygons or just in inset into our ball here. So let's explore further, though into the wildness of Z modeler brush holding down on your space bar, you can see some more options thrown at us. But if you're not, I am your guide. Um, you can rest easy knowing that I will show you around here. Let's work on this together. Let's quick on this option here, so we have extrude selected, of course, but now in the lower pain here in this target window. Let's click on brush radius. So what is this brush radius do? Well, it uses the brush radius to figure out the extrusion area so it can hold down s and we can increase. So let's just do a small one to begin with. Um so holding, clicking and dragging down and up. And that'll extrude according to the brush radius. And of course, if we increase the size than that will really change things up controlling Z that so? Yeah, the draw size, Of course, that's how that is affected. So let's zoom over to this site here and let's continue doing this, um, extrude situation. But instead of like before, let's figure out something else here if you click and drag out, but then you hold down control, you will see something really interesting. So this is fairly finicky. So you have to click drag, and then you hold control. And you know that's how that works. And what that does is it peels out a part of the model out above the other model so it will create new polygons instead of extruding polygons. Help! That makes sense. Let's go quick Control z. So also, if you're doing this, you can affect the Poly Group as you pull out the new polygons. Oh, let me go back just a bit so quick and drag. And if we hold down, you know, just like the normal click and drag extrusion hold down, shift and then release everything that creates. Um, you know, interesting polygon. Hey, adds polygons Just so it's not such a steep, you know, like before trying to explain this is a very much of a cliff, but if we, uh oh, sorry. If we click and drag this out, hold shift and release everything, then add some polygons to make it not such a steep cliff. Now I want to show you something else here. If we click and drag out this, um, extrusion. And if we just tapped fault, weaken by default. It's New Polly Group, of course, But say, for example, you wanted a different colors. Now it's yellow. It's an obvious different poly grip. Just stepping out changes the color there. So now we can, of course, see the difference from the original Poly Group clearly now. So once we have a new and different polling group, we can go back into the Poly Loop and it will affect this group controlling Z that another thing I want to show you is Polly Loop. So let's take this corn zoom in so that you can see a little bit better. And I'm going to take this orange indicator line and point upward. And what this has done is it has created a poly loop. That's why it's called Polly. Lupus created Poly Group all around this ball here. So now that I've shown you that I'm going to go back, I'm here to extrude and brush radius. We're going to do something a little different here. Now we have created a new poly group. So now, of course, things get a little more advanced and we can edit Onley in this polling group. Eso Let's go back. If we go in Select Poly Group and are probably Loop and Poly Group, you will see here now that it only effects The public will only affect that in the Poly Group so things can get quite advanced. I hope you learned a lot in this video and were able to understand throughout this course Be sure to let me know if there's questions I plan to do in frequently asked questions section at the end of this course and add new videos over the course of time as questions come in. And, of course, if one video in particular is terrible and I get feedback about that, I will destroy it and make a new one. So let me know about all that thinks, watching, have fun, good luck, and let's continue to the next video. 43. Polygon Bridges: So we already went over the idea of closing holes and previous videos of this course. But there's another way that we will be going over this in this particular video. So let's say here there is a hole all the way through a model, as you can see clearly in this cylinder, there's a whole, but it's all the way through the model. And I'm not saying Ah hole in that. You want to just close one in the whole but ah, hole in that you want to eventually create a tunnel and you can see here I would be extremely useful to create a tunnel in this type of model so you can see here the polygon zehr just hollow inside, and there's no way to see this. Um, is an actual hole in regards to the polygons. It's just a cut open area, said one thing I would like to explain Here aside. Bonus, um, is if you go to display properties cooking normally, it will just be like this vision, but clicking the button double will allow you to see what's underneath. That is to say, the polygons that are just not only facing the camera by the ones that are behind the ones facing the camp. So what we are trying to achieve in this video is to create a bridge, um, type of bridge to close the entire hole to make it look like a tunnel. First of all, I'm gonna press Polly frame so you can see what's going on. And I want to go and zoom in here and I just want to hover over where the white line is on edge. So you can see here the white lines on this edge now bring the draw size down a bit so you can see better. There's a the white line indicator line is on the edge there. So when that is that way, person hold down space bar. And while that is being held down Quick bridge and that's fairly self explanatory. So now what you want to do is you wanna you want to keep in mind the following steps. So the first part of this step is to go, of course, to this site and click it and you know nothing happens. But if you read here, just blow the cursor, says click second edge. So what we want to do is now we want to go to this side of the model. So on this side of the model, we have now clicked this side of the model. And so now you can see there is a bridge polygon across the causeway. No, but this is not what we're trained to achieve. We are wanting to close the entire gap. So in a press control Z and the way we do this, of course, is pressed by pressing the two holes. And we have that here. So we have clicked on the first edge, and now we're going to go this side, and now you can see that there is a complete tunnel. So now this cylinder has a hole inside of it with a tunnel. It is very nice, but that's no all weaken do there. I'm gonna press control Z because we're gonna do this again. I'm gonna click there first, I'm gonna click on this site and then I'm going to click on this side without even moving the model. And so something I wanna show you is I have the mouse button held down. And so if I move the cursor up, that will increase the polygon count. So, yeah, that's that. So now I'm going to go back to edges. So after the bridge has been created, something I want to do is hold over this polygon here while holding the cursor over this bridge. It's only one single polygon. So that's not always the best idea for shaping, um, a sculpture having only one polygon that doesn't leave much room. So having the space bar pressed over this polygon have pressed insert Polly loops. Now, what you want to do is, um, that's in enter a specified split count. So now when we have clicked that you can see there has increased the amount of polygons in this bridge. All right, so that's it for this video. I hope you learned a lot about how to create bridges and closed the gap. All right, hope you learn a lot. Let's continue onwards and forwards to the next class 44. Splitting the Points: Now let's explore more in the Ventress lands of Z brush the old Monty Z brush, See modeler brush. Let's activate that B C. M. Then we have that activated shift F for Polly from mode and we're gonna skip zoom in front and center here. So let's explore more of the functions of, um, points. So what if you want to make a circle polygon? This first seems to be a difficult task as polygons seem here to be mostly square. And for the last few videos we have seen, most polygons have been square. But there is a handy little feature called split points that can create shapes according to your desires. So the first step, obviously, is to have everything set up here. The modeler brush Polly frame and the models work on and we have that all here. And so now what we need to do is really we need to focus here on this point and thus symmetry Sure, why not keep it on? So now that we're focused in on this point, what you want to do is quick space bar and then go up here. Press split. And so now we have split Polly activated the text there shows that, Yeah, So after having clicked, you can see there is many more Polly's being added to our polygon count. It's just a nice way to go in here and just quickly and easily add more polygons. So you know, it's a lot more easy to work with when you have more polygons. So that's how you add more polygons quickly and easily. So I say That's on point, wouldn't you? All right, let's keep going to the next video. Thanks for watching. 45. Zmodeler Polygroups: previously in this course we took a close look at grouping of polygons. But since we're now in this Z modeler brush situation, um, of this course I will revisit Polly grouping as obtains to Z modular brush. So why, you might ask, would you fiddle with the model a brush when it comes to Polly grouping? Well, using Z modeler brush to pull a group allows you a level of perfection where you can become very specific about your probably grouping techniques Bay polygon, a polygon level of editing. Polly grouping basically, of course, like all the other videos, we should turn on Polly frame shift if now we can see what we are doing and what we're working with with the Z model of brush active. I'm sure by now you know how to activate that. If not, go back to previous videos. So yeah, so now that's already what we want to do is, you know, pick any of the sides and over over a polygon here, let's hold down shift bar. And so, having selected, um, something like delete here a single Polly we can see now while there's symmetry on. So yeah, what did we it would do it too. But if we turn off symmetry mode than just a single poly would be deleted. So that's that. Um, of course we know how to do that. But now, as this, um, pertains to Poli grouping, I want to explain things a little further here. So creating a poli group with the Z modeler brush is very much like that action we just did leaving a polygon. Um, So what we want to do is hold down Ault, and we can see it. Hopes we can see now is what is happening is it is creating a temporary white poly group. So you have to keep in mind this is not a permanent poly group. It's temporary since it's white, um, and so deleted and poly would then delete the entire poly grip that he created controls the all over this. All right, so now you can see how that works. It's actually quite simple, and all you have to do is old click. Then you create your own little temporary white poly group, and something like delete is a really nice action. Um, you can cook Ault. And so that's another thing I need to show you is Hold down, Ault, and you can just hover over. Hold down the mouse button. Hold on all you can just select, um, a whole bunch of polygons in this way and then you could delete all of them. So that's it's amazing. It's really nice. Um, of course, this public group is handy for things like deleting, since it's a temporary, Um, since it's white, it's it's indicating that it is temporary. But in some cases you want to create permanent public groups that will be needed. You know that action will be totally needed to make permanent poly groups, so let's see how we can do that. So it's move over to one of these polygons hold down space bar and what you want to do is Ah, let's Quick Poly Group. And what this will do is it will make Apollo Group as the name suggests. No eso We have gone over things like facing front all but let's go to Flat Island and what this will do you just quick on a flat island. And now this flat area of this square is all its own poly group. So keeping in mind the extrusion function video. We can use some of the skills we learnt. There's control Z hold down Space bar. We can see a bunch of target. Um, you know, we have gone over this in quite a few different videos in the past, but you know this Polly Loop. So let's create this Flat Island Poly group. And then let's continue this Polly Loop and Polly Group. Actually, So Hope and Poly Group And so, keeping in mind the extrusion function we watched in previous video, we can use some of those skills here. Hold down space bar and and let's go over to extrude. And now what you can do is go public. Lupin Poly Group like we used before and what that will do is inside this flat poly group. It'll create an extrusion and extrusion will be Apollo group in and of itself. So you can see how these infinite number of possibilities here this top situation in this Z modeler brush options, polygon actions and then the target options. There's just and then the modifiers. So I really encourage you to play around and so things get just extremely advanced. And for the purposes of this course, I think I have shown to you enough. I've showed you how to do it. That's my goal for this course. Um, that is just a small example of how all this works, how the model Bush can group fights with its own abilities. You know, there's endless ways to do this, and I'm sure you have gathered that. Explain it already. So I encourage you to try them out and see how you can make all this happen. You know, experiment with things that's House Z brushes excited, and you could just figure out things. So I hope you learned a lot. Let's continue to the next video. 46. Zmodeler Impediments: while the sea modeler brush is a welcome addition for polygon level editing of models there some things that it can't do. So let's understand how best to use it by seeing some ways that it shouldn't be used. So most three D modeling software out there allows you to have a polygons with more than four sides. However, NZ brush, this is never allowed, and that's also true for the Z modeler brush. Now, if you're used to modeling with something like my Our Blender three DS max, you know that even though five and six sided mont polygons aren't ideal, you can at least create them temporarily on your way to building something else. However, NZ brush this is completely not allowed, so ultimately, it does limit some of the ways that you can work. So if we zoom in, for example, here in this square shift F um, we can see some ways that it doesn't work. So another programs. There's tools that air called like a a cut knife for something, and you could cut in through here for Polly guns and and ultimately make polygons with more than four sides. But Z brush that is not the case. Z Brush only allows us to cut polygons through using existing polygons with only four sides . Some of the else that we can't do in Z brush is using the Z modeler brush here holding down space bar. You know, choosing anything, anything in here. Let's just Jews extrude so anything can be done because there is subdivision levels on this model. So if we just try anything on this model can be doing be doing that because there's subdivisions on this model now, do not worry about that right now. I haven't gone over subdivisions yet, but will be learning about subdivision levels for sure in the next few videos. That's what you know. The next few videos will be all about subdivision levels. But just understand that this current brush see bottle brush cannot work with subdivision levels. You have to delete subdivision levels first before you can work with seem modeler brush. So that's another limitation of the model a brush. So hopefully that has helped you understand just some of the limitations of the model a brush. So let's continue to the next video 47. Subdividing: the time is coming rz brushing journey to understand the ways of the subdivision levels. You see, it is here in that we find one of the Troost ways to make our three D models in C brush have more details and resolution in Z brush. There is several ways we can add detail that is to say, more polygons to our model. But one of the oldest and most classic methods is subdivision levels. Let us explore this feature further in next several videos. So the model I have here is just this simple square, um is fairly low Polly resolution, and we can see that by cooking shift F and we can see big public guns here. They're not, like, totally huge, but they're still a fairly large for adding anything. So if we want to add detail, I'm gonna turn off symmetry mode. We want to add detail, like with a standard brush. And, uh, trying to add detail is just not gonna work. It looks horrible. Polygons just looked messed up. So because they're so large, so in its current situation, if you want to add detail with the standard brush, that is impossible. What? We're looking for is more geometry toe work with. We need more detail to get more fine detail made. We need to add more vortices with the geometry to be able to effect the very dis ease and more geometry to sculpt. Otherwise, it's just gonna be this huge polygons. So to edit the settings of the geometry, we need to go over here to geometry, click geometry, vote fairly self explanatory. But, uh, once that is open, we have nice palette of settings here and we will go over some of this. So the first step is to simply click divide. So with the poly frame still on, we can see the amazing wave of detail that has been added to our model. Not really, but the polygons, they have quadrupled. So over here in the geometry sub pallet, we can see now that there is a slider and there is two subdivision levels, we can observe one with these big probably guns. The next one has the big polygons cut up into four smaller polygons inside the big polygon . Another option is to quick, lower resolution or high resolution buttons up here. Yeah, If we try to sculpt, we can now just get a tad bit more detail, but still really disgusting. So we need to add more detail. But before that, let's take a look at some house here. We can go up here, we can see points and what What this means is it's showing the total points in this model. Now, if I click on sub tool, active points means the active sub tool points and you can see her in that when you hover over the details. Pop up has the active points there. But we're not looking at that. We're looking at the total points of the entire model because, well, we only have one sub tool. Anyways, One thing I wouldn't mention to you is that this is not the polygon count. It is the total point count. So one thing you must keep in mind with this total point count is it's obviously not polygon count. So this means this number is actually somewhat exaggerated, as the many points that make up one polygon make it seem like there's a lot of polygons that could be a little confusing NZ brush. Yeah, you just must keep in mind that this point count is like about half of the polygon count. The points basically doubled. So instead of 2400 it's more like 1200 polygons. So, yeah, just keep that in mind. But yeah. So now, as we subdivide our model, we can see here shift F to read view The polygon are probably frame. And we didn't see every time I we a sub divider model, the total point count is just going up and up, and it goes up exponentially. One thing I do want to mention to you, though, is that if you have five million points, that's when model starts to get a little slow for some computers. It mine it would. But maybe if you have a beast, it wouldn't. Most people they're starting out with C brush. You wanna stay below five million points. Now here comes the moment we have been waiting for Turn off Polly frame. We're gonna add some detail with our standard brush we can totally see is now a lot more smooth and totally beautiful compared to what we have did previously. Let's go down the first I didn't see that and it's I'll get more into this later. When you add, um, you know, content with the lower subdivision levels and going up you, you can see it's added. It smoothed out anyway, so I'll get into all of that later. But the main point is that this hi subdivision level allows a far greater level of detail every time you want to go between the subdivision levels. There's this handy slider here. And then there's the lower resolution. In the higher resolution buttons there were useful and they're away too quickly and easily go between the subdivision levels. As you can see, this is one of very great virtues of subdivision levels. Um, this ability toe go between the rough and the fine detail, the next video. We're gonna have some interesting concepts about that. You just watch that one too. I think one thing in this video I want to mention is if you find that, um, say, for example, all these polygons are not needed and you find that you just need this amount of polyandry can do. Is Dell higher? And that will delete the higher. Previously, we had five subdivision levels. Now we have three because we deleted the higher did the leading lower Dell lower is not really needed, and I don't suggest it anyways. Thanks for watching the basics of subdivision levels. Over the next several videos, we shall learn Mawr and Maura about this important tool, so let's keep going and proceed to the next video. 48. Sculpting with Division: when you went to sculpt on your three D model. Things worked very well with subdivision levels and act as you might imagine, surprise and lead is very easy to understand. But let's take a look. Ah, a closer look at how all this works and see brush. So we have our nice square model here. It has some subdivision levels. Have added some example details here that over used to demonstrate things in this video. It's just some squiggly lines. It's not really that person. Now I will show you some amazing ways. Subdivision levels can help us change the overall proportions of our model. If you want to change the shape of your model, let us see how we can do this. Switching to a lower subdivision level is very useful, and we will see here why it is so first, I'm going to increase my brush size. I'm gonna switch to a lower, uh, subdivision Well, lowest subdivision level shift F for quality frame, so you can see. But as you can see here, you know the details air completely gone Now to make changes to the overall shape of our model, let's activate the move brush so it could be and then m and then v just getting zoom out. Dad Gonna do symmetry mode. So it's more organized. Let's just move some of this mass around, see what? What can happen here going to take the draw size and even just fiddle with this square and make it completely different compared toa You know what? It waas so just kind of doing some weird stuff Doesn't really matter. Okay, so that's that. So now we can see this square has been completely morphed into a different object. Now let's go back to the higher subdivision and that we can see that Thea details are actually still there. And so if we try to do this move brush, um, with the details, it's just gonna kind of, you know, it's not wrong. It's just it's gonna have a different effect as compared to when we have the subdivisions all the way down. And then we turn back up the details. Still, you know, can remain there. So that's a very nice thing to know you would be far better off lowering the subdivision levels when you do this moving and shaking. Uh, you know the move brush. Now when we see we moved around, the model with Lower Subdivision was activated. It just it's more simple, higher subdivision ist. It's harder to deal with, um, things cause there's more, probably guns going on stuff, so it's not completely wrong. Can work. But lowering the subdivision is better. I think that feature is really awesome. Now we can use this with other brushes. Let's try the clay brush B C. L for the clay brush. So with the claim. Bush, let's just add Cem details here, However, let's say we want the clay brush to bulk up our model and still retain these details here. So let's turn the subdivision levels down to like two. And let's add some clay brush to the middle there, and then when we turn the subdivision levels back up, you can see it is easily retained the detail. But we added some content underneath it with the clay brush, so it's a total wind wind you can see now low subdivision levels are great for adding larger matter, and high subdivision levels are great for adding fine details. Now let's try one more brush with this technique. The smooth brush so say this clay brush was a bit rough. It's not really rough, but now if we want to smooth things out, Uh, of course, holding down shift will activate our smooth brush. And you can see it's smoothing out details from our beautiful strokes. No, but but But you will notice, of course, is it's smoothing out the shape of the details, and the usual answer lies in the subdivision levels when you want to smooth things out. So now, um, we can go to lower subdivision level and we can smooth things out. And we went back to the high subdivision level and has retained the detail, but it just smooths everything out quite a bit, so I hope you can see the advantage of that as well. Whereas if we tried to smooth everything out when it's in the high subdivision level, it was just going to get rid of everything. So that's that. That's the smooth brush and that so yeah, like I said, it is all about being on the subdivision level has the detail that you want to structure and effect One more quick tip for this video that you can quickly used to lower and higher the subdivision levels is with a simple key command rather than adventuring all the way to this pal overhearing doing lower reds Higher is over the slider. Just do some key commands we have to do is press shift e to go down a subdivision level, you can see the slider is moving and then just press d to go up a division little shifty and D and only due to go up. Of course, you can press control D, and that will add another subdivision level. But be careful with that one. So yeah, knowing those hot keys can be really helpful in speed up your workflow. Alright, Thanks much. Let's keep watching and proceed to the next video. 49. Subdivisions Negatives: subdivision is a godsend because it is really nice and efficient. With this feature of Z brush, you can create highly detailed models. Subdivision levels, though, do have a weakness like most superheroes. So in this video, we will talk about the way subdivision levels fall a bit short. Um, yeah, most superheroes have a little bit of a weakness. So, um, when a certain number of soap tools come into play, that's when the negatives of subdivision levels happen. So the first total we will run into is trying to split models into sub tools. So let's say, for example, you want to split departs and we turned subdivision levels all the way down. Well, this will make it so Z Brush forgets all the higher levels of divisions. So if you split the model, it would forget all the edits you did when there was high details on those higher subdivision levels to you. If you split model up, um, you want to make sure that you are on the highest level of detail to attain the details of your sculpting or whatever. So in a similar matter, the same way works in other methods of doing things when you want to merge some sub tools, you know, actually demonstrate that here. So we click on this shirt. It's nice and smooth cooking geometry, and we see that there's four subdivision levels. So that slave say that Let's slay. No, let's say this, uh, those two subdivision levels. Let's divide this into six subdivision levels just for demonstration purposes. So let's go back to shirt and, uh, let's go down, emerge, and we're gonna merge down. Yeah, so now we have merged the shirt with the backpack, and as you remember the shirt had I think it was four sub divisional levels and we created the backpack toe have six. So as you can see now, the shirt that has been merged with the backpack has now just sub force of division levels . That means the backpacks two subdivision levels above four has been eradicated from this model. You want to make sure that that's what I'm trying to drive. The point home is that it will delete the higher levels if you emerge or but yeah, so basically moral of the story is to keep the highest level of subdivision selected. When you decide to split, who emerge. So one last limitation of subdivision levels here is say, we wanted to just work with this area of the chest. Say we wanted to just, you know, add some detail to that and add make subdivision levels go up in just this, this masked area or something. I'm here to say that that is impossible. So that's a limitation with subdivision levels as well. You have to divide, make more poll eons in the entire some tool. All right, that's it for this video. Let's continue on to the next. 50. Dynamic Subdivision: What if you have a low Polly model and you want to make things smooth but without detail added, like the sculpting details, incomes, Dynamic Subdivision? This could be used greatly to control the smoothness of an object with how actually affecting the poly count. So in this video, we're going to see how that's done. To activate but dynamic subdivision levels is quite easy to do. All you have to do is hit D and you're keyboard. And typically a pop up will appear if you do what I just did asking you if you want to do that, Um, and it will say, you know, And so you know, if you hit D, it will give you a pop up saying that you do not have subdivision levels. And, as we learn, previously, D and shifty can help you navigate subdivision levels. But with dynamic subdivisions, de can be used to create it if and only if there is no previous subdivision levels. Ah, and I'm sure when you cook the pop up you will see the always Yes, that's what I clicked. That's why I didn't receive a public shifty and the Kentucky all dynamic subdivisions of shift D and D 50 d go, Um, it will turn it on and off. But remember, Dynamic Subdivision is just a facade. It is just the appearance of having subdivision levels, but without adding any extra geometry. It's kind of amazing. The little deceiver of the sea best world. Of course, you can't sculpt detail in with just the foundation of a few polygons, but it does give a smooth look as compared with low polygon count, as you clearly, uh, see. Remember, it is just a simulation of subdivisions. It is not subdivisions itself. You will notice that if we go over here to the geometry on and sub dynamic subdivide section, dynamic is clicked. Yes, so there's some settings over here, and there is a smoothness subdivision level on what this is is. It's a fake, um, subdivision levels, basically just like regular subdivision levels, except these are fake. And the more it was up to seven. And if you know it's real smooth now. So that's how that works. Fake subdivision levels. So keep in mind, you can't sculpt on the model when it's like this because, you know, underneath this Is that so you know, you can't sculpt details on the low number of polygons. But if you're not, all you have to do is press apply. And now you have the seven subdivision levels. Oh, in, um, now in its regular format, having applied it. So that's dynamic subdivision levels and how it could be used. The Leicester say and accept Dynamic Subdivision is The Phantom of the Z Brushwork. So thanks for watching that's dynamic subdivisions bye for now. 51. Creases: today I'm going to be talking about how to make a crease in a targeted area of edges. So let's turn on Z modeler brush BZ i m. And now we have see modeler brush activated now with the Z model brush activated, we went toe over over an edge here. Like this. Let's turn us on, Polly Frame shift f You can see a little bit. I'm gonna turn off symmetry, so yeah, have hovered over an engineer. You can see the white lying here on the edge in question. So what you see now here on this lovely square is, of course, these pledges And you can see, of course, that it's already has these edges. And you might be thinking, Why do I need to make a crease? There's already edges, but when working with sub division levels, things get a little more interesting. So I have geometry, some pilot open here. It's open, dynamic subdivision, and we're going to see how this affects the situation. So when you divide uhm with dynamic subdivision or regular subdivision, you can see here, um, it becomes well, obviously you can see it's no longer a square underneath the dynamic subdivision is this square. But when you subdivide and create more polygons or the appearance of polygons in the case of dynamic subdivision, um, it it becomes like this. It's still a square, definitely. But there's no sharp edges. And what we want to do is keep those sharp edges and yet still have more polygons with the subdivision magic. So what we need to do is simply hover over our target edge here, and what you need to dio is hold down space bar and just quick crease. Then then you click and you can click crease on the polygons in question. And if I zoom in here rule, look closely. I don't know if you'd see it, but there's like these little dots and the lines that means that it's creased. So, yeah, you can see it's totally, um, going to become a square again. Yep. See, But I want to show you something more. That's hold over space bar on this edge here, and this puts edge loop complete, actually agile, complete on carefully. We just quick on this edge and you could see here. Now it is done, the edge loop complete, totally complete. And so things just, er getting a little better. We can press edge, loop complete and, uh can manage to get their head look complete. And that characterise as well. So that is our square restored. So that's the power of Crease subdivision and dynamic subdivision like to destroy the edges . So Crease is important to know about. All right, That is how you make creases on your edges when the crease disappears from the subdivision level. Magic. Let's proceed onwards to the next video. 52. Starting DynaMesh: Hey, welcome to the next video in this course, the next section. Well, you made it through the subdivision section. And now I want to welcome you to the dynamic sh section dynamic. Sh is a must when you were working in Z brush, It is totally, totally, totally needed when you know. But at the same time, it is totally different than subdivision and or the sea modeler brush. So the way dynamics works is it breaks down your three D model into little boxes. And I'm sure you have noticed it will be hard for me to explain. So the best way for me to show you how it works is to diminish treated live right now in front of your face? No. Okay, um, here we have our head. We're sculpting. Um, let's say we want to make an elf. Of course, they've zoomed into the ear here because we would want to edit this upper tip part of the year and keep symmetry motive. Of course, that way, both years air affected, but yeah. So the best way to make an elf I can think of is to use the move brush should be, uh, m B move brush, and what we can dio is we're going to stretch these ears out little bit, so just I don't know how well this will work out, but, um, and you can see her. It's starting to become slightly the geometry of the ear. It started to become a little bit difficulty to work with because so you see. Okay, there we go. We have our health here. Quite interesting. That's definitely looking like an elf. Whilst this year's air definitely looking a lot more like an elf. There is something else happening behind the scenes, the only the most advanced zebra ushers would understand. So I'm going to show you what it's helping behind the scene. I'm gonna press shift f you can see now, Paulie frame is on nice topology. Um, but you can see here that years they're polygons, air all completely stretched out, and it looks, you know, it's not very good for sculpting. You see here in the middle of the year, it's perfectly nice. But when it comes to the ear up in the tip here, the policy guns are becoming huge, and even moving is becoming a little difficulty. So that's the issue we are going to be working in for this video. It's just becoming a mess. The polygons in the tip of the ear there and well, it doesnt look completely like a mess right now. But for editing later, it would be a mess. Like for sculpting, we can add some subdivisions like we have learned. Let's just do some dynamic subdivisions and you can see it smoothed out a little bit. However, you know the polygons have not been affected. So subdivisions is not the answer. Because, you know, the subdivision would make all the little polygons in the face subdivided. But the bigger polygons at the tip of the ear would be divided, but they'd still be bigger technically than the rest of the year in the face. So what is the answer? What is the answer that we seek in the answer lies dynamic, dynamic. Sh is our savior in this situation. But before you demonstrate that, let's just being the draw, size it down and tad and be yes, t for the standard brush. And you can see here when I sculpt on the head there. I mean, perhaps, um, subdivisions would be nice but you can see her. It's smaller polygons there. But when your sculpt on the ear tip there is just becoming a mess because of the huge polygons of the years. So how could we make the tip of the ear sculpt herbal just like the rest of the head? So, like I said, dynamic sh is always savior. So let's learn how to work with Dina Mish. How can dynamics rescue us? So going over to the geometry tab, we will work with a leverage geometry as normal. Just click on dynamic sh And so now you have don't mention selected here. I mean shift f so we can see it. Polly Public frames that is useful. So in diminished, we have two options. The concern efficiency that Dina Mission Button and the resolution so clicking Dina Mash you can see now the poly Iran's have totally changed and they all become small and at the tip of the year, they're a little bit messed up. But nevertheless, uh, what you can do is out of control Z that let's just turn the resolution up a bit and now cook on dynamic sh And now we can see the ear is totally smooth and stuff. Of course, the polygons air just quite way more than you need, but yeah, so that that's probably good about there. But, um, of course, later editing for like a game, you would have to have smaller polygons. But if your sculpting SSM kind of statute, this is nice amount of polygons and you know computer can handle so dough, add too much polygons because it could crash. Your computer could exhaust your system. But you get the point of today's lesson. Is dynamic helps, um, areas that you stretch out. It adds the polygons, just like the rest of the model. It will even out the polygons. That's the moral of today's story. So that's basics of Dinah Mish. I can tell you dining meshes really, really helpful for things like thes years, you know, to make the polity guns, even though we don't want our ears to be strange and have the polygons old, different portions. Anyways, that's that. Let's continue to the next video 53. DynaMesh Sculpting : dynamics confused to a great extent when you were making shapes and are sculpting and Z brush dynamics can be used to make changes without working. A worrying about the polygons being stretched out as dynamic can be used to snap look, probably guns back into place. You know, like a in the newly stretched out models, the public guns will become the same as the rest, you know, as you move your model around. So here we have a basic ball here with this basic model, I want to sculpt some things on it to demonstrate the powers of dynamic. Sh So I have the move, Brett Brush A selected. So it would be M V for that to select move brush. And I've already diminished this ball. So I'm gonna bring the draw size a lot, a lot. So let's say we wanted to just stretch out. These politicians could a bit. Well, before I do that, I want to demonstrate some things to you. If I was to don't pull out the polygons here way out. Everything just completely a mess. The public guns in this area here there'll be. No, it won't be quite as great when it When you don Ameche it, um, you have toe smooth it out a bit. Like see this right here. He's probably guns, air giving Cem artifacts, different stuff like that so we can avoid this control. Z undo some of that, and I'm going to show you something how you can avoid all those artifacts. So we have Dinah mesh open here in the geometry tab. Diminish. Have the resolution set to 1 28 No particular reason. It's just nice. So what I want to do here is, uh, move it just out of it and we can do is press control and drag out in open area. And it read Ayn emissions everything that keeps it nice and smooth. So as you are doing this, um, just read a mesh everything and And when you do it like that, you can great, really odd shapes. You, Dina mish. And the shapes can continue to be really odd. And you can just basically play around with shapes like Plato or something. I see the public guns are just getting a tad bit. Figs read Ayn emission. Now they're all They continued to be smooth. So if I was to make this shape out of the ball without Dina mission several times, I'm sure the edges this areas will be having some artifacts. And of course, you can smooth that later. But I just want to show you that technique. It's a little bit easier to do it that way. So this feature of dynamics is useful because you can pull things around as you want to, and then you can just read Einem ish. It will make it to when you pull things out bit by bit, it will keep a nice even geometry. Now let's look at another part of this. Let's activate the Kleber should be See L and the clay brushes activated. Turn off Polly frame so I can see what I'm going to be adding here. So now let's add some matter to our, um, model. Were just sculpting some stuff on with the clay brush, basically adding, and this would be when a tablet would come in handy. I don't have a right now so you can hear my mouse clicks, and it's not so great. Probably way to do it. But hey, it is what it is. And so I'm adding on matter with the cle brush. So the clay brush in this way is kind of a little rough. And but you confined tune things out later. Bye. You know, smoothing things out with holy on the shift key that thus that also works. But another thing that you can do is you can add like Di um, some resolution. So when we died, a mish it. It's like a lot of polygons, lots of polio. And so now with the clay brush, we can turn the size down just a bit. And as you can see with this clear brush, it's a lot more detailed. Um, it's not so rough because there's tons a polygon. So that's another way. That's another way Dina Mesh can help. Things is just to add a lot more polygons to your model, and that'll help keep your clay brushes little more smooth. So, yeah, it's basically a way you can add smaller, um, details because it's so fine the polygons. So yeah, whereas if you had the dynamics sh way down here like, um, 96 we read, I damaged it. Polygon Zahra weigh less. And so you can see here the clay brushes, becoming not so fine. Detailed situation. So that's DIA Michigan. Add more resolution. Of course, you can see. Even though there's tons of polygons, it's keeping the resolution from the previous sculpt. So just you can smooth things out in that generally fixes the Polly Gomes. You know, if that's that's just a bit of dynamic shins abilities. I think the key thing is, um, read ayn emission every bit by bit as you move your model round and sculpt dine emissions abilities really help us to keep our models stretched out and sculpted all at the same time as keeping a great polygon count on our newly stretched out parts of model. That way, things don't get looking bad. So that's it for this video. Let's continue into the next 54. Combining Objects: Dina Mesh has another great feature that we're going to be exploring today. It can really help things get done. It can help combine sub tools or objects together, just like we saw in the live Boolean mode, but just a little different. Of course, it goes without saying that there will be many different things going on. Between are a difference between the dynamic Xinli 1,000,000,000 mobile. A Boolean modes is like a few port. Of course, that could become permanent leader. But Dina mesh is always going to be permanent so without further or duelists adventure onwards and see how it's done. So to begin, let us add a new object here, let us add a sub tool and upend a Pima Tibbs are actually a pending a primitive does subtitle So it's gonna seeing this down a bit and then I'm gonna click on Upend Cube three D and now we have our cube new cube open gizmo. Move it up a bit. See that we just have our cubes here. It's nothing fancy at all we're trying to do is add another square on top of it, maybe like a building block situation, like when we were kids. But instead of placing a block on top another, we want this to be fused together instead of this being a separate model, we wanted to be the same model. We want our models to be fears together and to be combined is one that they may live well and prosper as they could live happily ever after. Kids. The latest. Yeah, we're moving this buck. We moved it in the correct position. I think someone would go back into draw mode, and now we're going to see how this is done. We're gonna merge these sub tools. So what I'm doing is going and clicking on merge and suppose we're gonna go press, merge down press Okay, on that pop up. So now we see this is incompletely one sub tool, these two blocks, even though there's, like, this tiny microscopic gap between them shift F, Yeah, they're separate. And so we need to combine them. And with Danish, we will see how this is done. So we don't want to do, obviously, is activate the powers of dynamics, go to geometry and just click on dia mesh so quick on dynamic sh and clicking on Dina mention dynamics did. You can click and drag and an open area control click and drag, and that will diner Misha as well. But what you can see years now is that these two boxes are now fused together. They're no longer separate. They're fused together in there that we turned Polly frame on its one Polly frame. It's not two separate Polly frames, so yeah, they're fused together. Well, of course, it's always a good idea to go in and increased me. Draw size and you can just smooth things out a bit. And, uh, this will just remove artifacts or things like this from models, and it all depends on what you're trying to do, but yeah, so yeah, they're good people were work done on that, but that's that. I just wanted to show you how Edition works with China. Machin That concludes all chapter on Dina Mish Kids know, uh, so now let's go to the opposite side of the spectrum and talk about subtraction. So what I want to do what I want to achieve in this model here is to make a hole in it. Ah, subtract the whole I want to make a tunnel. Maybe, like right there or something. So this is easy. I'm gonna close this geometry for now. I'm going, Teoh, go to Sooke Tool, Open that up. And now we want to upend a primitive us. Depend A cylinder gizmo obviously is needed that way. Um, control the that Because I want to select the cylinder nut. So I'm gonna increase the size here. This is exactly what we want, and I want to just Okay, that's that's good enough. So now I'm going to move this over here. Great for demonstration purposes. This is what we want. Great. He might be thinking, What in the world is this? What is he doing? So what I want to achieve with this models make a hole, It, of course, tunnel and I will be using the cylinder that I appended. So, yeah, we have this. This the correct angle and the cylinder is exactly where we want the whole and this, you know, circle shaped hole tunnel situation going through this shape. So, uh, so what you want to do now is go over to the cylinder and you want to click on the subtract icon. This is the addition icon. So where the cursor is hovering? This is the subtract icon, and we have clicked. Unsub tracked icon. So it's all looking good, and you can actually pretty visualize this. Just turn on Boolean mode and you can see what will happen. You have a nice hole tunnel situation there, but we don't want to work with Bruins. We already did that. But we want to do is we're gonna work with China, miss. But in order to make this all work, what we have to do, it's now we want to merge the Soto's Let's click on the top sub tool and go to merge Down Click. OK, yeah. So now, now you have one sub to when you might be thinking. Now how are you going to do this now? But yeah, missions on So control. Click and drag an open area and now you can totally see has worked, totally worked, has made the hole there, and it's in subtraction mode. So even though those two shapes were combined, it was in subtraction road, so remember that erased. Of course. Now there's a bunch of artifacts you can further you know that it that later and get rid of that bay smoothing things out. All right. So you saw how the live billions did addition, subtraction as well as intersection in previous videos. And now you saw how dynamics did addition and subtraction. But I want to tell you right now that dynamic does not do intersection. I just wanted to let you know that that's kind of a limitation. And that's building up for next video. The limitations of Danish. So it's continuing to the axe video. Thanks for watching. 55. DynaMesh Imperfections: Dina missions. Not perfect. For that matter. I would have to say neither is other features and Z brush. So this video is all about what dynamic cannot do. This is kind of an interesting video topic, because normally it's of course, uh, in this video, Siri's a, you know, details about what things can dio. But today we're doing totally different. We're going to be talking about with damage cannot do one of the things that happens when you dynamics sh is that holes will be closed most of the time you want your holes to be closed, but sometimes you want them to be open. So this is something you should keep in mind. Perhaps you did not want the bottom of your motel close. So in this case, perhaps you want this model to be like this, but perhaps you want closed. So, um, with Dina mesh, it will close it. So it's we have the correct subtitle selected. And so let's go down to dynamic sh and we have done wish It's just control shift. And, uh, I'll actually have to click the button first before I'm gonna dina Mission. Just gonna put the resolution up 500 or so. All right? No. And so now we have our model, Dina meshed, and the bottom is perfectly closed of the bust. That's nice. So the reason why I have that as a limitation is sometimes you would want to keep your model having that open space in the bust, but with dynamics, you cannot have that open. So that's a limitation. Now let's take a look and another limitation of zebra show. I want to stretch things out a bit, So I'm going to zoom in on the ear here, so I'm gonna stick the size down a bit b m the and we have our move brush activated. And so now I'm just going to take this year and move things around. Turns kind of crazy, like, very crazy. Crazy Indeed. I think, like, totally created. Okay, I'm just gonna ruin all of this and the goal here. I'll fix all that later. But the goal here is, you know, see here that we're making a crazy thing here with this year, and we're gonna They should be dina mission about now. But so you see, there is just ridiculous. That's our here, and I'm gonna take the, uh, the clay brush here, Actually, the clear brush Here we have the clay brush besides down a bit and the clear brush can flatten things out a bit. You know, that looks horrible. So now we're gonna dynamic sh sh! And so we see here it has, ah, done a decent job, but not done yet, so Ah, so you're gonna take our clay brush? We're gonna continue doing that. And, uh, do the cult feature going to take some of this content away? The goal here is to make a thin surface. So for mouse clicks, I've got may tablet. A good. Yeah. So we're just making a flat surface. So now it's It's rather flat. Oh, uh, are weird. Weird. Weird. Here. Now that's done. You Michigan. Now I know you receive the limitation of this. This is where the problem coming here, You know, when are strange Indian jumbo elephant ears. They're so thin when you dynamic sh it's ah, just gonna create this weird situation, this Swiss cheese situation. And you know, normally you want to clean up, um, holes close holes, but in this case, dynamic sh creates holds the Swiss cheese holes. And typically this is what you do not want to do. So yeah. Anyways, that's a limitation of Z brush. Just wanted to let you know that course you can fix this by going to be I n. And then that's the inflate brush. And you can create some really disgusting looking drove a tree that was smooth it out and then in played again smooth it out. Inflate, inflate, inflate, inflate. Your goal is just to get rid of those. So it's cheese stuff. Yeah, in this tick tick a while here, I'm gonna go to the other side and also inflate because, yeah, the inflict brushes what we're trying to just do here. That way. Now, this smooth situation is okay. There there's there's some proper inflating Ah, okay. Don't mess that again. And so now we have our you're a little bit more normal. We smooth it out and yeah, so actually, it's totally Oh, no. Sorry about saying normal, but yeah, it's look a t least the it's with cheese. Situation is gone. Now it's swollen. Anyways, that's our model with are really weird ears. It's like an alien or something. Lobes of wisdom Maybe you can hear extremely well our sense things. You could use your imagination quite a bit. I've seen some cool models where their ears were, like, be these big balls in many ways. Enough that so? No thing that, uh, is a limitation with c brushes. Uh, you see, here I see it's already done a little bit, but I'm going to activate the move brush, and I'm gonna move. Ah, these lips just a bit action. All right, so now we're moving these lips close together, ruling lips, but that's not important. So now let's died a mish again. Now you see the problem here When you Dina mashed the lips, these are defects became prevalent between the lips. So that's that's not a very nice thing. So you have to worry about that so that these are the limitations of Dinah Mission. Yes, that the lips keep Keep that in mind. Um, it's a common thing to watch out for and dynamic sh items are models close together. Thin models can create Swiss cheese and then, uh, holes in the models. The hollow models can't be the case. They always have to be closed in damage. So all right. That's that's it for this video. I hope you learned a lot about what Dina Mishka can not do. But you're not. Most of the time, Dina Mesh is our ally, and it's not our enemy. But every now and again, he likes to throw a monkey wrench into the situation. But yeah, anyone anyways continue, shall we? 56. Using Sculptris Pro: We have talked a lot about subdivision levels and dynamics in the last few sections of this course. They are really, really great tools in Z brush, and they make you able to do a lot of things with great detail. But one thing that we have fallen short on so far is the ability to sculpt on just a area of a model with high detail, all the while leaving the rest at a lower level of detail. Dynamics requires an entire model to be the same level of detail. And, uh, and you will know, probably. Subdivision just turns every polygon into four more volume, so you can see here. There's a limitation that we have run into, and we have talked about this even in previous videos. When we're demonstrating some division but we have them, we don't have the ability to have just a small area highly detailed with lots of polygons, while leaving the rest of the model lower in detail to save on space. Sculptors Pro has been staring at us for quite some time now. Can you guess where he is? Um, the little weasel. He has been here all along sculptures problem So just quick on that button and you have activated sculptors pro. And you can see that indicated by the purple Circle. So most brushes have sculptures, pro powers, but some are just too weak to receive its gloy. I will show you some of those, but, um well, now I will show you how Sculptures pro works first before showing the limitations. Uh, that's a good rule of thumb. All right, so I'm gonna turn on Polly frame so you can see more better parts of model. So I'm gonna pick an area. Let's see. Oh, about around the eyes. I'm going to just add a little bit of detail around the eyes this time. Finally have my witcombe tablet instead of a mouse, so you can see here. Now, Sculptures pro is doing a fantastic job taking and, uh, just adding tons of polygons around the eyes. So turn off Polly frame. And really, there's not much difference here visually. Of course, once you smooth out, you could definitely see the difference. But, um, you can see here it just adds quite a bit of polygons, and as you and with the standard brush as your sculpt, he can see appear in the right many, many more polygons being added That enables us to have around the eyes very highly detailed where we could go in like, um uh to go to poor level detail like skin, the pores of the skins and dimples and acne. It's looked like this. You could do all of that around the eyes here, whilst around the rest of the face. That's still you can see very large polygons. So I hope you have heard a lot about that. It's pretty awesome. Yeah, it's really, really useful for parts of model that you want to add detail. Um, but you, at the same time do not want to crank up the dining meshes with the subdivisions. It's pretty straightforward. I think it's a very, very nice feature of Z brush, but it does have some limits, and I will talk about the limits. Now let's activate the move brush B m the and now we have the move brush activated. And so now I'm going to take just focusing on the here here a little bit. Draw size up a bit, so as you can see here as I'm moving this year, the move. Brush is good. Old move brush. It has no bells and whistles. It's just the regular move Freshman to control Z that we have demonstrated Move, brush. And it's not adding any more subdivision levels as you sculpt with move, move, brush. Um, however, there is a move brush type ability. Um, that will work and that is called Snake Hook. So to activate the snake, can you brush S h So brush for brush s first make an h for hook. So now we have ah, sculptors pro activated. Now you can totally see. It's kind of actually a little weird how it works, But it's basically kind of like, um, move brush, But you can see it's a lot more fluid. It can be really weird, but it's a lot more fluid in it. Move things out just like a move brush. However, the snake hook brush ads all the polygon is just like the standard. So I wanted to show you that. So that is really useful to know the snake cook so you can move things around just like the move brush. And yet add poet tons. So, yeah, then. But there's another thing I wanted to mention as a limitation Teoh. See the this sculptors pro mode. So let's go back to the standard brush. So we now have the standard brush activated and say we're just adding the the edges were not quite find enough for us. And we could just add a bunch of polygons tons of hooligans in the year here if we wished it all of that. But I'm gonna turn trolls e that because I'm going to show you something a little different here. Um, the limitation of the standard brush is if we were wanting to turn on the back face mask. So go to brush winter and brush goto auto masking. And like we have done in previous parts of this course, click on back facemask. And so now you can see here it's sculpting like normal, like like normal and, uh, however, it's not adding the sculptures pro, so the back face mask is technically working, but it's not adding the detail like the regular sculptures pro standard brush. So when the back face mask is on, it just kind of makes the sculptors pro mod, great out and sort of confused. Well, that is sculptures promote, and I hope you will use it in ways you don't even imagine. Now. Trust me. As time unfolds, it is amazing tool. I'm sure you will find ways to use it in. Like I said, Amazing waste. So thanks for watching. Let's continue to the next video. 57. Sculptris Pro Features: Well, now you should know what sculptures pros all about. But in this video, I want to take just a bit deeper and understand all about how you can use sculptors pro in wonderful ways. So with the standard brush active, you can see weaken, sculpt, Um, some sculptors pro goodness. So let's just turned for size down a bit and just going toe, zoom in a bit and, uh, size down still a little bit. And then you just activate sculptors pro mode by clicking that button right here and the Now you can see, um, as your sculpt on some detail with this brush. In fact, that's going that Sercan see here returned on Polly frame mode. You can totally see that the eyebrow section is now, uh, totally covered in little polygons lots and lots of polygons. But that is the extent of our knowledge So far, In order to be the true Z brush ninjas that were meant to be, we need to just learn a little bit more about sculptors pro. So what you want to do is you want to go appeared a stroke, and then you can come down here to sculptures pro and you can see there is settings right here that we can look into. He received many settings about sculptors pro, not many, but there's a few. And of course, this button activates and deactivates it. But let's take a look adaptive size. So what does adaptive size do? Well, what adaptive size does is it changes the amount of detail that is applied to the model based on the size of the brush. So the smaller brush equals small polygons like we saw here in the eyebrow type area. But then a larger brust equals larger polygons. You can definitely see how that all works, and that is adaptive size. But if you go up to stroke adapter size and turn that off, you can see here. Now it's, Ah, just a regular generic size, and there's no adaptive sizing going on. I just ruin the whole thing. So controlled do you see here with no adaptive size histories, that generic size and the size of the brush does not matter. Most of the time, adaptive size is kind of nice to have on, so I generally keep it on, but like is that it depends on what you want to dio, Let's go back to stroke menu and then let's take a look at the combined button. Figure out what combine actually does, and it's kind of a precarious name to heart. It's hard to get a grasp on it sometimes. But what combined means is it simply means that if you create a brushstroke like over the highly detailed section, it will remove detail. Let's just say we all had a huge brush stroke size and maybe not that big. Let me like this. Now you can see the haIf fine detail around. The eyebrows are now gone, so rubes detail. This is a useful feature. If you wish to quickly sculpt shapes over fine detail and you want that fine detail gone, of course you can turn it off here. Return combined off. And then we sculpted over that all that fine detail would stay put. So those air those two options. I just wanted to let you know about that. Now let's talk a little bit about the smooth options. No, let's turn off sculptures pro, and let's go ahead and smooth out this nose. You can see all that worked. Now let's, uh, go ahead turned sculptures pro on, and you can see it Smoothes things a little differently. So it's smooth out the ears here. Uh, so smooth. This is sculptures pro mod. Just gonna smooth things out very smoothly and add some polygons. Whereas without sculptors, pro things are just not quite as, um, precise. See how the ears still there? Technically, it's just a little confused. So sculptures pro working with sculptures. Pro smoothing techniques, I believe, is just wonderful. But so I just wanted to show you a quick sample of how that works. So now I want to explain a few things Sculptures Pro will not be able to work with textures . And so if you have a played textures to model, um, you might want to run away from the idea of adding, um, sculptures pro to needed on because sculptors pro will ruin the textures. And then also, I want to tell you subdivisions will not work with sculptors pro. You want to remove subdivisions when we can with sculptures probe. Well, you have seen sculptors pro right there, this lovely little button and in the stroke menu, the sculptures, pro settings, and I'm sure you could figure out how many opportunities there are that lie ahead of you with knowing sculptures. Pro. Thanks for watching. Let's continue to the next video. 58. Sculptris Pro Brushes: sculptors Pro works well with most precious and Z brush, but there are some that are made specifically for sculptures. Pro. Let us explore the family of the snake hook brushes and Z brush and see what they can do. So just hit be on your keyboard and it s key and you can now see that there is the snake hook that snake hook to the snake sphere. And then over here, the snake cactus. And those are the brushes that especially designed to work with sculptures pro. So you want to make sure sculptors pro is activated Just quick, that button. And then let's go back to the B s and London's hit two Bs to will activate Snake Hook to. So what you can do is just simply click and drag out your snake hook and you can see here. Um, it's quite interesting. Now this is a circle, and with snake hook to it, it goes out according to the direction of the surface. Now, something I want tell you is that there's a difference between steak too, and the regular snake hook brush um B S H to activate regular snake hook, and you could see here now, the regular snake hook brush, it comes out according to the view of the camera. So that's like regular sneak up to comes out according to the view of the surface. However, if you were to take the curse and go here, you can see her. It comes out. According the view of the camera, you can create some really strange odd shapes here. As you can tell, I'm gonna control Z this so I can go back to square one. So I'm sure you've already noticed that the snake hook brushes. They kind of really fizzle out into nothing. The end parts of this just fizzle out to nothing. But if you're not, you can use a snake hook brush that will not do. That s O B S and S B s s activates the snakes fear, and you can see here it's just coming out relative of the view of the camera, and you can see it's a really interesting brush. Something I want to note with is that if you tap lightly on your tablet, it's smaller. But then if you add pressure bigger like so. But the difference, of course, between snake sphere and the other snake of brushes is it maintains its volume. Lastly, let's just take a look at Snake Hook Cactus Bs in. And basically I'd say the only purpose of snake cactus is to make cactus. I can't see of any other reason why you would want, but it's really good for that. So anyways, thanks for watching. Let's continue to the next video. 59. Materials: if you have fiddled with any other three D software, I'm sure you have noticed that a lot of detail is focused on real time rendering and things like this. But with good old Z brush, they like toe keep it old school. And they're just all about sculpting and modeling while they leave the rest of the high end rendering to other program Real World Materials and Deeb Rusher Quite different. So let's explore just a bit what they are all about. When you start Z brush, you will notice that, uh, if I click on material and go over here to met Cap Red Wax, this is the material that you were presented with. This is the default material. And of course, it goes without saying This is the material, um, button. And when you click that you represented with tons of options of materials, I like the Met kept gray option. And while I do like this gray option, it's good. Good idea to figure out which is your favorite. This basic materials kind of same, but that's another option. But skin shade is also nice, and I recommend as your sculpt to go through different materials as your sculpt because each material has a virtue, different virtue compared to the other. And it shows, you know, certain shadows and lighting in a different light. So it's good to, uh, it's kind of like a non artist that's drawing. They flipped the paper to make sure things going well, this is kind of the way that happens. So let's say we want the body to be a certain color. Let's say we want Matt Cap, Whatever this is, we want the body to be this color, but the rest of the clubs still the madcap gray. So the first step you want to do you want to go up here and click em and make sure material channel is turned on and after that has turned on. What you want to do is go to color and press Phil object, and you have noticed nothing has happened. Actually, something did happen. If you go over to the demo soldier, you've noticed the body layer is now this tan color, but the rest are still gray. Let's go to madcap gray, and now you can see the rest of the sub tools are gray. Where the body is what we want it to be. This different color. So that's how you do that. And you could also paint in Z brush to paint. What you want to do is make sure Z ad is off, and what that will do is it will turn off the sculpting abilities, and it will turn on just the painting abilities. So now you can see here I'm painting on the gray on the tan color. So that's, uh, do men do not that, uh, and so you can see your is your paint. Um, it's painting on the gray color over the tan color, but there's a little problem here, technically, not a problem, but, um, for low resolution models, that kind of is, I just want to warn you that each polygon will be 100% filled with the material. It's not like painting. That's there's no soft transition between turning off the paint like a 50% or something. It's all 100% gray or 100 sent this tan color. That's something I just want to make you aware of. So that's how you paint materials onto your model. But let's say now, instead of going through Phil Object of Let's Say we wanted the whole, um, model gold. So good color. Phil. Let's turn on gold and said that we color Phil Phil object. And so now we can see the shirt is gold and so you would think you would have to go through each sub tool and fill in all gold. But there's actually an easier solution that you can go to a Z plug in and just press. First of all, choose gold and then Z plug in Phil select material, and now everything is turned the gold. So if you have had went to color, fill, object like the body layer. If all of the material are some tools were different colors. Do you plug in? Uh, some told Master Phil is a way to make make material on every sub tool one color. All right, that's just a few options about materials and how you can paint with materials, sort of used materials, materials work in great ways and Z brush. And, uh, I'm looking forward to showing you all about painting and text during in the videos to come . So let's continue on and learning all about painting and text ring. Thanks 60. Painting: So throughout this course, we have learned a lot about how Z brush is really great for sculpting. However, when it comes to painting, it does fall short just a bit. Most of the time, the appeal to Z brushes simply, um, sculpting, but with painting. Yeah, Like I said, it just falls short a bit. And most of the time, painting and Z brushes only appealing. Simply suit off to dance between different Softwares to export and important all of that stuff. That being said, though, you can still get some nice painting affects done Z brush. If you know where to look, that is. You can get some details in May fall short compared to other software. But let's take a look at anyhow at painting in Z Brush. So NZ brush is all about brushes. Of course, we have learned that quite a bit in this course, and painting is no different. Every bush can, in effect, be a painting brush, So let me just teach you how that's done to activate, like the standard brush, for example, it could be a painting brush to make that so we have to do is press RBG and RBG stands for red, green, blue like photo shopping. All that and then Z add you turn off, See ad And what this does is it takes off The ability to sculpt Zi AAD is like adding sculpting materials. So you turn that off and then you turn on RGB, which is turning on the color. So then that enables you to paint with the standard brush. Now, if you find that just a bit clunky so you're going from brush to brush and you wanted to paint. Um, are you wanted to sculpt and then you're painting and switching between all this may just be a little cumbersome for you. So there is an options. Let's turn on the ad and turn off that. And now a standard brush is back to its was. But there's another option for painting, so just go B p b brush p for paint and then a for the paintbrush. So now you have the paintbrush activated and you can see here the settings are by default. A painting setting. So the paintbrush, What do you know is used for Peattie? So another side note I want to tell you is this skin shade material is really great for Ah , painting. It's a really great base color material as a foundation for when you paint and already talked about that, PVS videos. But I just wanted to tell you that. So now let's get to actual painting. You're probably thinking, Stop talking. Let's paint. So over here you can see there's a color picker color palette and, ah, the great red green blue value. And so that's that's all that. And so you could move the color around. And, as you can see as you move the color around, it actually, uh, changes the color of the ball we have activated. Yeah, that's how that works. That's how color can be changed. Just the color picker there. So, as you can see here, any color that we choose here will then be applied to the model. But let's say you wanna have a color stick, so the way to do that is, uh, before I talked about that, though, you have to keep in mind the RGB intensity. This means capacity like in photo shop, So if it's at 31 that's 31% intensity. 100 is 100% like capacity level basically, but I'm I digress. So the way you apply this great green color to this sub tool that ball, what you want to do is go to color and then just go fill, object. And now it's green. Now it will stay. So as you can see with the color picker when we change it blue, it's not gonna change the ball to blue. It'll stay green. And yet the color we have here will be blue. It's now we learned how to fill a knob object with color. But now let's learn out paint a little bit. So I'm just gonna assume in a little bit. So painting is pretty easy. Concede year right there might actually get a choose a color that it's a bit more contrast , compared degree and so you can actually see the pain that we do so you can see painting is very straightforward and easy Brush painting is he's. But there is a little more settings I want to talk about. So with focal shift up here, if you move it to the left almost all the way to the left, you can see here now. Um, let's turn it purple could see here. Now it's a lot more of a hard edge and yeah, so let's even move it all the way left here. Basically, it's quite a hard edge now, and it's kind of pixelated. So So, yeah, way we can solve this has just add some subdivisions. And now we have absolutely millions of polygons shift F tons of polygon. So now you can see it's totally crisp and clear. I'll talk a little bit more later on about how subdivisions really come into play when that , But as you can see here as you paint, you can see here the stamping effect is a little odd, so I just press lightly on my, uh, brush. You can see here. It's like Did I did I did that And that's because with painting, it's just taking one. You can see there 12345 in Louisville and goes on, so sometimes that's not ideal. So to change that, go to stroke lazy mouse and then lazy step. Turn that off. So now you can see it's totally smooth. It's just like smudge it it in there Instead of going that I did it, I did it is totally smooth, So lazy step that's important to turn off if you want to totally smooth like that rather than stamping on. All right, So let's continue painting here. Yeah, it's important to tell you about subdivision levels. When you paint here, you can see it's with this low subdivision level. It's very polygon focused. It's not quite as bad as the materials section. We went over painting materials, but still Z brushes a very polygon focused painting situation. It's like pixels and photoshopped, but just think polygon. So if you have huge polygons, painting won't be so high detailed. But if you go back up to hi subdivision levels, then when you pay it will be high quality. But keep in mind those paintings that you do in low subdivision levels. Even if you're switched to higher subdivision levels, they will stay low quality. So, yeah, that's how that works. I'm gonna stop all right now. One last thing to cover before we stop. Now you can pay with textures, so let's go to the texture palette here, and let's turn on this texture so you can see here. We're painting with this texture, and it's just kind of being smudged on there. That's not always ideal. Um, so let's go to the brush option here instead of dots. Let's do drag wrecked. And so now you can see it is totally just taking out one copy, and it's Ah, Green, as we would expect, drag wrecked to do. But keep in mind, you can take focal shift and move it over here. And now when you do, drag wrecked, the edge won't be so harsh, so you can take in add textures in there. And it they're almost be like one big texture rather than harsh edges in there. That's just a little bit on how you can paint with textures as well. All right, so that is painting NZ brush painting. I find to be a bit more of a pain as compared to other Softwares, but sometimes I bite the bullet just painting see brush because it's quickly after you get done sculpting, you quickly start painting compared to like I said, dancing around with other Softwares and exporting and importing all that stuff. So let's continue on to the next lesson 61. UV Layout: Z Brush has the abilities to work with Polly painting and also bit map textures. So in order to apply a texture and then convert it from Polly painting to a texture map, you need to use UV layout. And UV layout is basically just a simple flat version of your model in a two D image that you can use is mapped out on the three D surface. Z Brush has some sweet little tools that will make this little more simple for us to do if we just look under the hood of it. So that's good going with that. Let's see how this works. So we have our gun model here, and there's some metallic type paint on it, and there is no subdivisions, but I would like to mention so there's no subdivisions, but I would like to mention that you should be on the lowest subdivision for the following action. So what you want to do is go to Z plug in and you want to click on this UV master and then just quick unwrap. I have already done so, but it will take a little bit. But if there is high subdivisions and you know, on the lowest subdivision, there will be a pop up saying you need to be in the lowest subdivision, So go to that. All right, so after doing that, we can do is close the sub tool palette. But in order to see the results of our Z plug in, um, UV master unwrap, what we need to do is we need to go to UV map down here and just go click morph UV. And if you just move the screen over, you can see Now it's there. You can see what it looks like. So what this does it cuts the model and places it out like a sprite sheet, if you will, into a two D image. Now you can see that a complex model completely, it laid out. They're fairly nicely in a two D image. Of course, you'll get things stretched out a bit sometimes, but for the most part it's really great. And the two D representation of the image of your painting on the image is what happens here. No, let's try something a little different. Click on more few V to go back to the regular view, and we have our regular gun deal cooking F two Go out a little bit. All right, so that's our regular gun view. No hit shift F. And you could see I have this in a whole bunch of different Polly groups, whole bunch of different poly groups and just keep Polly frame on. Now. What you can do is go to Z Plug in UV master, and it's quick poly groups, and that will keep the public groups in mind when you Oh well, it's just read it when active UV master will create separate UV islands for each polling group found in the model. So now let's quick unwrap. So having unwrapped that we can now go back to UV map and press morph UV and zoom the camera over here and now you can see it's a lot more organized. They have organized the UV map into the poly groups, and there's totally mapped out considering the poly groups, and it's just a little more efficient this way. So you ve master NZ Brush is the fastest way in C breast for you to get you V's now. This is not always the best UV solution, though, for something like gaming model or something. But for most of the things this works, so for a gaming model or something, you might want to use some other software. But for the most part, this will work for other uses. So thanks for learning with me today. Let's continue on RZ brush adventure. 62. Spotlight: in this section. We have already gone over how to paint, but let's explore just a bit further and see where we can paint with of useful tool called Spotlight Spotlight works. As you might imagine, it projects an image on a model spotlight, has a lot of useful features and is quite unique. So let's get to learning all about spotlight. But like like some features we have may have fresh in our minds in the Z brush learning experience, they're very, very useful. But at times they you know Z brush just has a way of making things a little bit harder to master. But once you get the hang of it, it could work out pretty well. So before we can actually even use spotlight, we need an image to work with. So that is the texture. And so the most convenient way to get a texture is in the texture. Swatch right here. It is quick of that, and you can activate a texture from here. Another great, great way of choosing a texture is just goto lightbox press the texture button. You can click and drag, and you're gonna have tons and tons of textures to choose from here. So to choose a texture from here, you just need to double click it and you're ready to go. I'm going to choose. Let's hear something, whatever. That's that. So you double click it and it is added to the texture Swatch. Then you close lightbox, And so now we have our texture activated. Lastly, one last thing you can do is import texture. Just go texture button up here and press import that will import a texture That is to say, an image. You can import any image, and it will be a texture for you. So while we have the texture