ZBrush Hard Surface Prime

1. Introduction: Hello and welcome to ZBrush Hard Surface Prime, a course focused on everything hard surface in ZBrush. My name is Pierre. I'm a character artist, a proud girl dad, and a Chicago native, that's had the pleasure of Creating coursework and tutorials focused on ZBrush for more than ten years. This course is designed for those familiar with ZBrush wanting to do more in the hard surface department. Inside is an organized, feature-focused collection of the best Hard Surface features, tools and brushes in ZBrush. There's no 20 hour course to cherry-pick information from. Instead, we dive straight into each tool covering it's location, best use practices and more. So if you're ready, join me and let's get started. 2. Basic Brushes: Let's get started and dive straight in with the most basic of brushes. The clay brush is great for gradually building form with repeated strokes. Features a flat top profile with a limited height that's only adjustable via the brush menus, depth options. Clay tubes is a stronger version of the clay brush is high in depth, are also editable via the brush death options. Try swapping the square Alpha for a circle one. The dam standard brush is great for sketching on your model. Creighton panel lines seems, increases as one of my go-to brushes due to its versatility. The pinch brush is great for hard surface as he can pull geometry to a single-point, create an edge is along your mesh, all dependent on your pen pressure. As the intensity. The inflate brushes. Your best solution when you need to simply add volume to a portion of your model or simply bulge out a section of your mesh. The Move brush is a tool worthy of mastering. Nudging things in that place is a big part of the digital sculpting process. And this is the tool to do it. Changing your focal shelf will affect the fall off of your brush and its edges, allowing hard edges with a bowl fall off or soft edges, the steep fall off. In this brief demo, we're going to utilize symmetry on our brush, as well as this basic set of brushes to begin sketching out what would be an asset, perhaps a camera or a drone in the sci-fi nature. Starting off with the dam standard brushes, I said before, it makes a great sketching brush as well as drawing out penalize. You will need to be super accurate. Now this set of brushes aren't for finalize hardest surface detailing, but more light sketching out your ideas or just figuring it out placement for establishing your sculpt and where some of the elements are gonna go. Just using a bit of in-flight in here to build that form in the middle. And now to some clay brush, which has the added bonus of filling in cavities and holes. Bit of the TAM standard brush along these edges, just trying to add some lines here to make it look a bit more tech. Inspire. Now with a bit of smooth brush in here. I'm going to go back to the dam standard brush. Create a outer ring, hedge that to the clay brush to create a little bit of a divot, perhaps a LED or some other type of detail. Now I'm using the Shift key. Click and hold Shift and drag to make those straight edges very useful for our surface. Bit of pinch brush just to make that little divot. Dinner, which is a good use of the pen brush. And all around. You can see now that this simple set of brushes are very useful for higher surface sketching, join me in the next clip, we'll cover some higher surface brushes. 3. Hard Surface Brushes: Zebra has grown an arsenal of horror surface brushes. Let's cover a few. The move infinite brush projects through your mesh, grabbing and moving any and all geometry behind your brush is best used in profile views with prospective disabled for accuracy. Tracker buying the move infinite brush with masking for some interesting effects. The polish brush slightly sands down your surface to an eventual flat plane. Holding the Alt key on your keyboard while brushing will pull the surface upward towards you. Switch between both to suit your polish needs. The age polish brush is a much stronger version of the polish brush, delivering fast plaintiff sculpting that will clip its effects as it meets other hard edges. Also holding the Alt key will pull a surface upward. Flatten brush produces planar results like the Polish brushes. Along with the ability of flattened smoothly across any kind of edge. The planner brush is great for making somewhat flat areas. Actually flat ZBrush will average and area under your brush a pool polygon's and rains down towards this plane. Hold Alt and pool polygon's upward towards his plane. Planar is a useful but difficult to master. The trim dynamic brushes and aggressive brush that works fast and offers quick edge beveling, simulating damage, or just simply decimating the surface of an area. By default, the layer brushes size is linked to your tablet pressure. But temporarily disabling your tablet allows his brush to create simple and clean double strokes. The chisel brush set features a collection of brushes well suited for creating a range of horror surface seems. Remember, holding the Shift key allows you to create easy straight lines. In this demo, we're going to turn this fear into a geometric heart-shaped pendant, like the preview in the corner. Now I'm using the move infinite depth brush here to shape things out. Now from a three-quarter view, just use an irregular move, brush. Continue to pull and push things. It's trying to establish the base form. Now coming in here with the polish brush, just a smooth things out. Just to get things a bit rounder as well. Changing my camera view and polishing from down below. And the top as well. I'll need it to be perfectly smooth because I'm going to come in here and make things all facet. Using the trim dynamic brush here. I'm just tapping around with a fairly large size. This is a good brush to use to create hammered looking dent. Model, maybe a metal damage. All sorts of tricks with this brush. So real handy. And now I'm just kinda reshape as some of these Bye, re, tapping them. Create new shapes. And now has only n here with the flattened brush to make these a bit sharper. And a continued to reshape some of these, these poly shapes here. Now to the H polish to make things even sharper edges. A standard brush for getting things to look real crisp white. Just move that all the way around. Take all day. Make a thing that all nice and sharp with that. Now for the planar brush, I'm just gonna do a small section here. This just sampling the area under my brush, pulling everything, arrange upwards, Nipah, whole all, I'll pull things down. It gets real tricky when you get in towards edges that meet. Need to have some serious precision and get really tight results. When you do they are really sharp. Brush I use a lot, but when I do, it comes in clutch. So many in here. Shifting between standard and holding Alt, pulling up, pushing down. That is the planar brush. Now let's move on to the chisel brushes. I'm just going to perform some test strokes. Now. The chiseled tip, brush tip to hold the Shift key. So we can create some quick straight edges. I'm just going to run this long edges of our gym pinned in here. And after a while your gemstone will look something like this. And now we're gonna move on to the next step. I'm going to use the layer brush. After disabled has tablet sensitivity. This will ensure that I maintain a consistent thickness and depth and my layer brush. And using that Shift key once again, I'm just tracing shape, an extra little extrusion for each one here. This set of brushes is a must-have for Horace or sculpting. Be sure to play around with each brush to get a feel for it as well as its results they offer. In the next clip, we will cover curve brushes. See you there. 4. Curve Brushes: Curve brushes are amazing additions to your hard surface toolset. Your brushes contain two kinds of curves. Brushes. You have surface curve brushes and 3D curve brushes. 3d curve brushes do not work with sub-division levels. All curve brushes respond to the size of the brush by typically changing your breast size, Clicking on the curve to update. You can extend slide, pool and even smoother curve by clicking on it and holding the Shift key while dragging. Twist floating sections of your curve by clicking on it. And x hold the Control key and drag. When done, click on the open area to commit. Enabling lazy mouse will allow you to quickly draw straight lines while holding the shift key. When done, returned to drawing curves by releasing the Shift key. Press and hold the space bar key while drawing with 3D curve brushes to move your curve around. You can control the depth your 3D curve brushes are drawing it by using the depth embed options to control how deep your geometry is embedded when drawing curves. The curve, flat snap brush, laser, single-sided strip of polygons. Great for hair cars, Creighton straps, and use for z smaller. Curves, trap, snap works in the same way, but with thickness that can be changed with the size of your brush. Cursor snaps surface is useful for quick creation of surface napping segments. With a collection of editable curves. We showed a drug occurs in the same direction to avoid twisting. Curved surface works in a similar fashion. However, without surface snapping, depending on the camera angle, the brush will loosely follow the form of your model. Curve to snap. Couldn't be a more descriptive name for this brush allows the creation of tubes along any surface in respect to the size of your brush. Curved pinch delivers a clean and consistent scene on your mesh given the resolution, simply drawing your mesh and adjust your size and intensity and click to update. The 0 measure. Guys brush has a nifty trick allowing you to make several strokes and switch to other curve brushes to see its effects. Currently, this is the only current brush that has this functionality. A lot of fun to try out different curves. Brushes, SES uses. Drawing occurs close to each other, can be difficult without first committed in your previous curve. Lowering your curves snap distance will allow you to make new strokes near previous strokes. One after the other. Taper the ends of your strokes by enabling the size option in the curve modifier is located in the stroke menu. Use the curve graph to control the shape and placement of the curve. Options to flip the curve are available, or choose to change a curved transition by grabbing the curve. Next poll a point off the graph in back for hard point. Taper on both sides of your curve. This way, the delete button located on the curve functions will delete your curve. Alternatively, just click anywhere on your model to do the sign. Smooth button will apply a value of smoothing set by the curves. Move this slider, click the open circle option on the slider to enable stronger smoothing. Snapshot will commit your stroke while keeping your curve active or repeated use of other curve brushes and features. Frame mass uses borders, poly groups, increase edges as parameters for automatically apply and curves to your mesh enabled the parameters you want. Then click frame mesh button to place curves. Next, perform a bit of smoothing, if needed. Deselect and apply your current brush choice. Size and depth at this point. Then commit one died. Use selection tools to temporarily hide portions of your mesh, to use the board of perimeter. Uncheck the other parameters, and click the frame mesh button to apply a curve. Next, apply smoothing if needed. Then apply the curve brush of your choosing. Enabling the as line button will only allow the creation of straight line curves. This can be a desired effect. The liquid button will change the extension behavior of your curve. It allows you to pull in a portion of your curve, extending a new fluid path behind you. The elastic button also changes the extension behavior of your curve, allowing you to pull on portions of your curve to extend a straight path behind you. Enabling a bin start button will allow you to bend the forefront of your curve when manipulated. The same applies to the bin in button, allowing you to bend the end or back of your curve. Enabling both buttons will allow you to bend both ends of your curve. Play around with these curve options to get the most of your curve brushes. 5. Special HS Brushes I: In this segment, we will cover hard surface brushes and some transpose tips. The transpose tool has a collection of hidden abilities. Not only can it move and stretch your model, but also bend and curve your model by Alt, clicking any other centers, circles and dragging. Be sure to use mass on your model to isolate areas you're working on for extra control. Redraw the transpose tool to change your direction of influence. You can also clip your model with the transpose move by dragging your aperture tool and click and dragging the center circle, touching your model. Use masking in a troll that area you're working on. The transpose scale tool has an alternate ability to squash and squish your model when Alt, clicking and dragging in the center of circles. Be sure to check that your tool is centered to produce uniform edits. Clicking and dragging the center middle circles allow you to bulge out your model. Where you place your Transpose tool on your model as well as angle is drawn, it affects your results. The transpose rotate tool has the added ability to twist your model by Alt clicking and dragging the center middle circle. Control clicking the white circle will align your camera horizontally with the viewport. This is helpful for aligning straight edges and brushes. The bevel flat brush isn't amazing. Brush allowing quick beveling. A planar objects made for edge work. Start your stroke on one plane and across an edge onto another plane. Next, drag your brush back and forth for cross the edge to bevel it. Holding the Alt key with the bevel flat brush will allow you to bevel interior edges. Bevel art brush works much like the bevel flat brush, however, resulting in chamfer edges. Dell Arte interior edges holding the Alt key the same as the bevel flat brush. In order to avoid getting these artifacts enabled back face masking located in the auto masking options tucked in the brush menu. Clip curve is a beloved tool for higher surface sculpting. Hold both Control and Shift keys while clicking and dragging across your model to clip. Goodbye and with some masking. Alt click while drawing to change direction. Double-click while drawing to create hard angle pivots. Keep in mind is does smashed the excess geometry up to the curve easily giving you a bit more to clean up at times. The knife brush performs the same way. However, deleting the excess geometry on one side of Kurt and create new poly groups along your cut. Control Shift. Spacebar will open the menu menu with the beat radius option. And it's also located inside the brush menu under the clip brush modifiers. Enabling it with the knife brush, let you slice and remove section of your model while holding the Alt key. Knife. Lasso is another handy way of slicing up your mesh. It can take some time to process depending on your poly count. All versions of the knife brush are amazing. However, save often when using them, because currently they have a tendency of crashing ZBrush at random. The mesh extrude brushes have found their way into my favorites. Message through brush creates flat bevel shapes from your mask drawings made by holding the Control key. If you don't move your camera while creating, you can use Control and Alt key to subtract from your history. Mesh extra prop depth is a mouthful of a brush that makes circle extrusions or cuts. If you're holding the Alt key or the height of your extrusion is determined by your Z intensity at your extrusions by holding the Shift key. And remember that adding and subtracting is dependent on not moving your camera. Mesh project as a lasso stroke version of the mesh brushes that snaps to the surface. The thickness is controlled by your Z Intensity. The mesh brushes are more than what meets the eye and we will cover them more in another segment. The topology brush is another favorite of mine. Simply draw curves to create a patch of geometry and use Alt click and drag across Carter's to delete them. The delete all curves button is located in the curve functions onto the stroke menu. Once done, click on the open area to commit and generate a patch of geometry that conforms to your model. Change your brush size to change or thickness. In the next clip, we will cover additional hard surface brushes. See you there. 6. Special HS Brushes II: Let's cover some special brushes and then put things into action, creating a rocket ship. The slides brushes, a good way to create poly groups, as well as slice the polygons on your mesh for further editing. I am in primitives, gives you that ability to select and drag out a copy of selected geometry. This quick access to assortment of primitives can speed up your workflow. I am a model kit puts a large collection of low poly components like nuts and bolts at your fingertips. Enable the gizmo 3D and scrub through your models to update the selection. The Z Marla brush is a complete low poly modeling toolkit built into a brush with z model or select it, press and hold the Spacebar key over a specific components to select from a list of actions and additional settings to effect where how the polygonal actions worked. This brush is worth the course of its own and we will go more in depth in a later segment. Starting off with a couple of primitives as cylinder and two cubes here, I'm going to mask off this top point, invert and then use my gizmo 3D to pull it upwards to create a bit of a point. Now I'm going to grab the Z modular brush, hover over an edge Space bar and select, Insert as well as multiple edge loops. So now when we click on the edge and we drag up the right or curving it. And up and down is adding more sections. I get an area like I release. And I want to add a bevel right here at this edge here to soften that transition. Now, we're all done with that. Now in order to create that rocky shape bulge to our body of our ship here, I'm going to drag out the tramples line and make sure I have it centered. And next I'm going to go ahead and click the center circle. When pulling upwards a bit more. And now allows me to change where I placed that bulge. And that's Alt. Click the center circle with the scale transpose tool. Now with the topology brush selected, we're just drawing one side of the window frame for our rocket ship. And now I'm just adding some more sections here to create the quads, you need to use a topology brush and just clicking a model to see what it looks like. And if you want and you can undo and add some more sections and click the Commit wants done. Now to the z mandala brush, I just want to add a bevel along the edges of this window frame. And just simply click to repeat your last action. And that is our window. Now the IMM permanent was Brush. Select the smoothest sphere I see. And just draw it in the center there. Rather with their transpose tool or Gizmo 3D, just take the time to center and scale this sphere and get it just right. Okay. Now we got that all situated. Zoom out, see how things are looking. Grabbed the Z modular brush and add some quick themes. Back to the insert. And what the multiple edge loops insert. Just click and drag and find the curve and spans you want. And now I'm just simply clicking on edges to repeat the same input. Now, the IMM model kit, I'm going to add a bit of detail, but first I'm going to set up my symmetry in the transform menu. Active asymmetry, y axes with radial symmetry. Now I'll just click and dragging with the IMM model kit. Let me just add some nuts and bolts all around our model here. I'm going to change my assay for symmetry. So we can add some nuts and bolts around this window frame isolated. Now you can come into the Transform menu and hit as pivot or L symmetry, which stands for local. Drew those nuts out. And since the frame is slightly curved and slightly bent and we're going to use the trans Pose tool or Gizmo 3D to rotate. So at the top, nuts and bolts will come to the surface here. Okay, so I'll set, I'm going to perform a few more edits to the bottom portion of our rocket here. I'm going to add a bit of a bevel here, so it's not a hard edge. The Z Martha brush. Next while hovering over edge, I'll select Insert single poly loop and insert a loop in here. Now holding the Alt key and dragging cross Pauli's, I'm sitting there temporary poly group set to single poly and my target. Now with Q mesh, I'm just clicking dragging. If a whole shift, I'll get this result. If a whole control, they'll split off another section of that temporary poly group. Now with that said, I'll set the flat poly groups for target. And I'll just Q mesh this and insert another poly loop. And I'm just masking out this area here so I can come in and scale in that pilot we added. As you can see here, you can use your regular tools such as masking and other tools or Z modular to get the facts you're looking for. So now I'm the transform and go ahead and activate symmetry. What l, or local symmetry activated. And I'm working on those cubes here. Just divide a few times to get them all nice and smooth. And now I'm using the bevel arc across those planes to round them. We got those nice and around it. Let's go into the draw menu and turn off perspective. For our next step. I'm just going to mask the top portion of these cubes. Performed a bit of a blur on that mask. Now which are Rotate Transpose Tool. Control-click the center circle up top here to rotate that unmasked portion. So unique waiter, rotate and control your meshes with the transpose tool. Going to drag out another mass selection, blurred it. What my hotkeys and I'm just shortening the tubes there. Make sure I get them right into position. And even than them down a bit here. Now with that done, let's go here and add a bit of smoke using the mesh extrude brush. I'm just going to try out drawing out design here. The message through brushes so fast, you can just undo, retry your shapes. Just about got what I like. Also remembering I can also edit this as long as I don't change my camera angle. Two quick. Alright, like that one a bit better. I'm going to draw another one here. This time holding Shift to append a new section. He used my transpose layer and get it into position. Ultimately. He started to shape on top of a shape as far as the mask and move away using the space bar key like I did, you can create a shape off to the side here. Now just creased my poly groups and divided a couple of times. I know we haven't covered creases, but that's further in the course here. And now I'm just posing it to show our rocket lifting off with our rocket. Now I'm done. I hope you can see the usefulness in this simple set of brushes and your heart surfaced workflow and toolset. The next clip, we'll cover alphas. See you there. 7. Alphas: Alphas are used regularly for Horace surface sculpting, especially for detailing, creating a stamp Alpha brushes as simple as selecting the standard brush and your Alpha choice. Then test your stroke. Next, change your stroke type to drag wrecked. Wants done. Test your stroke. Last but not least, lower your focal shift. And now test your stroke. Should have a perfect alpha brush. Located the brushes hard surface alphas and the light box by clicking the Alpha tab and opening a hard surface alphas folder. Double-click to load an Alpha. And also note that you can scale a lightbox menu by clicking and dragging the bottom portion. Use an Alpha Mu to edit your alpha. Here you can flip and rotate your Alpha and then modify a sub palette. You can apply noise to your alpha and control this amount with this slider. Below that is a blur slider. You can add blur edits to your alpha alone with noise added. Tile, repeat your Alpha with both H and V tile sliders. Use the same vowels and both sliders to keep your Alpha uniform, otherwise, some stretching will occur. The make 3D sub menu will make your selected Alpha into a 3D mesh. With the default settings, click them, make 3D button to generate a mesh. The sliders in this menu are Mesh resolution, mesh depth, and mesh smoothness. For example, I will increase the mesh resolution to 531. Slightly lower is death. And click make 3D. Enabling that the BLS button will make your mesh double-sided. Make 3D button will generate meshes. Event with modify edits such as H and V tile editor. Make 3D is good for creating fast. And are you meshes based off your alphas? In the stroke menu is a repeat and last button. Replenishing your last stroke in the exact spot. The replay last relative button will replay your last row wherever your cursor is located. That just last slider gives you the same effect with the added ability to adjust into the negative values. Make two strokes and zebras who will generate a repeating pattern with the interpellate button. Before hidden interpellate button, set your strokes count slider, and then press interpellate. It's important to remember not to move your camera at all after the first stroke. Otherwise your operation will fail. Another cool trick when interpellate button is in setting a smaller shape into a bigger one, set up your stroke count, then have a go ahead. The fastest way to create custom Alphas in ZBrush is too low, and so divide a circle 3D. Next, draw a mask on your mesh using any masking brush the way you want. Wants done, invert your mask. Next, navigate to the defamation sub palette and use inflate to create some height. Next, open the menu and click the from mesh button. This will open a new window showing your mesh has an Alpha center and orient the Alpha in this window. Set your texture size at the bottom. Once you're done, click Okay, your new alcohol load into your current brush. It is now selectable and your alphas take some time to play around creating your own Alphas and join me in the next lesson, we'll discuss DynaMesh and sculptures. 8. Dynamesh and Sculptris: Non-dimensional sculptures PRO offer dynamic resolution sculpting. Typically, stretching your mesh in any way will degrade your poly resolution for future sculpting purposes and more. However, once the DynaMesh is activated, ZBrush will quickly generate a new model where evenly distributed polygons, all while we're changing form. Increase or decrease your poly count by adjusting a resolution slider and clear a mask in your viewport. Dynamesh can cut holes as well as merge individual meshes together. The resolution of your mesh is directly linked to your ability to create details. However, one sculpture is promo, is enabled on your brush. You can add geometry locally as you brush across your mesh. In this demo, we're going to use DynaMesh to create a stylized Oozie gun. I went ahead and duplicate it this cube. And I'm stretching the main cube here. And this will form the body of our Oozie gun. And a duplicated piece here that I'm placing will form the handle. I like to keep it simple with just using primitives, block things out. It's enabled groups and hit DynaMesh. And this will allow me to DynaMesh all pushes on my model separately that are divided by poly groups. Good way to change your resolution without merging pieces. Now, this duplicated cubed, I'm placed it at the bottom to form the clip. And I'm just scaling it from front. And I'm just slimming down everything handled down. Just trying to get those portion is roughly. Now with that in place, just go ahead and poly group that cube and we had placed. And if you guessed it, I'm just gonna go ahead and clone that control click and drag. And it makes sure that tool is centered. Scaling outwards. Then we're going to use this to place. And for what I'm assuming is the release or locking clip for the for the club. So I'll just be in place for that. Okay, have fun. The front view here, I'm just going to mask out the corner which symmetry enabled. And now I'm just going to unmask the middle portion here, as well as all of the back there, as well as a bit of the edge. Now have an inverted my mask. I'm just going to place my gizmo 3D by clicking. I'm just going to stretch outwards. Alright, just trying this time we'll control click and drag to see it. That would have kept things a bit sharper. Now I'm just hitting these edges with a little bit of smooth. We can trim them down later to sharpen them up. Now I'm going to this IQ here, duplicating it and placing it near the bottom of the base. And this is going to form the lower portion of the body. The main body of the OZ kinda had a slight taper, so I'm just going to use the Trim brush to just cut away at these portions and form that shape we're looking for in there. And now from the front, I'm just going to turn off symmetry, center my gizmo and stretch. And now I'm just gonna go ahead and turn off my lines so you can see that everyone has their own poly group. Just turn them back on there. And now from the front view I'm just going to hold control, size up my brush and just tap and create a circular mask. Invert and just pull my gizmo 3D. They just form that barrel. I'm just gonna go ahead and DynaMesh increase my resolution a bit. And DynaMesh. All right, so now I want to addressed these edges here with a bit of smoothing. Our first, I'm just going to mask off that barrel poly group it. And now when we DynaMesh, it's his own separate piece of geometry. So I'm just going to come in here and smooth mask and I'm just going to look at it from the front view here. Okay, Now from this view, I'm just going to hold Control. Click and drag on the arrow to drag out a duplicate of that cylinder. Mass, the front portion, drag to extend. Now I'm just going to mask to poly group it. Now we have that poly groups just going to come in from the front view here and draw out a mask like we did before. Just control click the sharpen it. And now I'm going to pull this circle inward just to create a bit of a edge there. Just hit it with a bit of smooth. And as we're working on, I'm just DynaMesh, any two mostly cleanup resolution issues. But as we begin to sculpt resolution to give us more detail here. And I'm just using the IMM brush. I am primitives to assert this cylinder. And my plan is to use it as the not the handle but the trigger trigger guard, I guess you call it. And now from the side view here, I'm using the move infinite brush just made to work from profile views like, like this. And I'm just pretty much just shaping it into place. Just paying attention to the thickness. And it's presses great What performing little distortion. But you still should monitor it. But there's many ways to create a trigger like this. This is the first thing that I just came to my mind. All right. I think we're just about got that. I'm just going to center my gizmo 3D. And just then it just scale it in a bit there. Pull it down. I'm pretty happy with that. Go back to his base cube over here. Duplicate. I'm just going to create a trigger. Just getting into place. Pull the guard down, and just pretty much size up that trigger. Now, I'm just going to go back to the move infinite brush could use a combination of masking. I move the brush. But this brushes works perfectly. Such an occasion. Another duplicate of the cube. And this is going to form what I believe at the site. In the reference image there. I'm just masking off the lower portion here. And I'm just going to use a transpose tool that clip things into shape here. We could use a clip or the trim brushes. Well, no wrong answers. Usually what you prefer and ZBrush. Okay. And now I'm just going to scale in that site. From the front here. I'm just going to mask out a portion of the site what symmetry enabled. And I'm just going to use a scale to pull down where she could just use the Move brush. I mean, the move as well. All right, and then we have that into place. I'm just going to hide a cube. Delete hidden. I believe we have all the pieces we need. From that. We're just going to perform a few more edits to our sculpt here. I'm just stretching out the main body using the gizmo 3D as well as moving some things into place. This is where having your parts polygraph really help as I'm just control clicking to unmask entire meshes and just performing these quick edits. And now I'm going to use the brush to just shorten that part of the model there. And x, I'm just going to isolate this base, clip that from the front to give it a slight bevel. Okay, now I want to go to the slice brush and Slicer right across the top here I'm going to try not to slice the body. And what groups turned on at the DynaMesh and knees are now separate pieces, as you can see, the seams as I smoothed them. And now with them unmask, I'm just going to stretch them up a bit more. As you see, DynaMesh is really handy. And just carving up your mesh. Especially taking advantage of that. And Groups feature. Just going to switch back to the clip brush and just add some bubbles to these these rails. I'm not sure what they are. And to zoom out a bit here. And on the handle, I just want to stress to outward and get a nice straight edge. And now got that handled. I'm gonna go ahead to the IMM primitives, grab a capsule shape and just drag that on and size it up. I'm going to use this to create those two stripes along the sides. Slight indent. Why extrusions, I guess you'd call them along the sides. I'm going to just scaling it down and stretching it. And now I'm just going to just inserted right into the side there. And we get into place. I'm just going to go ahead and duplicate it. Control click and dragging. And what I just did, there's something I do often is moving my gizmo to the side so I can see better. So now with that standard brush, set up a as a alpha brush. I'm just changing my brush settings. And now I'm gonna go ahead and grab this circle alpha here. And just drag out some dots to represent our screws. And I'm just pressing shift and one to use replay last relative. He has a great for just maintaining the same size of our strokes there. Now, any point in time along as you don't have subdivision levels, you can activate. So adopters Pro, I'm going to use it to create that diamond pattern on what I'm going to call the barrel cap. Now using that standard brush that we used to make a alpha brush, I'm just testing out the star alpha for the resolution. Are sculptors pero brush is gonna give us. Now loaded up this diamond Alpha. Tweaking my eyes the intensity. And next I'm going to turn on symmetry, radial. Pick the right accuracy as well as my account. And now we're going to test our stroke. Okay. And next glass tricky part is the placement. And I'm using shift one to use the replay last relative. Just going to start over, trap, place those a little bit better. And we're using like a couple of things here to really get the most out of this, using the advantage of the symmetry. The local detailing of sculpture is pro, as well as ability to DynaMesh whenever we would need. And here are our results here. As you can see, DynaMesh and sculpt tourists are incredibly useful, allowing you to change your resolution at anytime while retaining form is extremely invaluable. Join me in the next clip, what we will discuss, masking. 9. Masking: Z brushes, brush system allows many ways to approach masking. One handy tip to view your mass easily is to briefly switch to either the fast or flat view option located in the render menu. When done, switch back to preview mode. When editing your masking brush, be sure that hold the control key. Lawyer focal shift for harder edges. For simple flat, consistent brush. Hoping your prefaces menu and locate the tablets up menu and disabled it. Now you have a straight edge masking brush. The interpellate feature was great with your masking brush as well. Be sure your strokes go in the same direction. Not only does interpellate create repeating patterns, but transforms from one shape to another. Replay relative can help save some time and quick snapping previous strokes as long as you don't move your camera. Zbrush has a few projection based tools that don't work well with perspective on excluding your mass pen brush, all of your masking brushes do this. To avoid this, simply turn off perspective and use your masking brushes as intended. The mass curve brushes a great tool for hard surface sculpting with this natural clean and sharp mass border. Be sure to try using an additive and subtractive manner to get the most out of it. The macro menu has a few handy buttons within. One being the round corners button. Multiple clicks on this button will continue to round your corners. Hide your mask while editing by disabling the view Mask button in the masking sub palette. The Blur mask button is good for smoothing sharp mass. The sharpened mask button is good for doing the inverse. Grow and shrink mass, expand and contract your borders of your mask. And ultimately softeners as edges. Mass your last stroke with the mass change points button. The closed circle option will mask with soft edges. The open circle option will mask fully with hard edges. You can edit a closed circle option and strengthen mass coverage with repeated clicks of the Boost button or salting or mass with multiple clicks of the dilute button. The clay Polish button works great with masking. Click the clay Polish button with default settings and watch any unmatched edges sharpen. You can edit the results of this feature with the settings. Mostly the top four will suffice, and the last two will amplify the results. Play around with these settings to see which kind of quick and dirty horror surface cleanup results you can get. Extraction is a simple and quick method to generate geometry. The closed circle option on the smooth slider will smooth your results while working to maintain form. While the open circle option will smooth more aggressively. Thickness controls the depth of your extraction. When the double button is enabled, it will generate a double-sided extraction. Be sure to click the Set button you have found the right set. Masking is a big part of digital sculpting. And zebras has several different brushes and options to help you mass more efficiently. Join me in the next clip, we'll talk about poly groups. 10. PolyGroups: Many hard surface features take advantage of poly groups. The Auto Groups button randomly distribute polygraphs to each individual mesh and your sub tool. Regroup by edges, generates polygraphs based off the edges of your mesh. The slider to the right adjust the thickness of the polygraph. Edges. Grew by normals is useful for pile of grouping hard surface models. However, it can be a hit or miss trial and error experience switching between open and closed circle options, as well as finding the right max angle value for the best results. Group Mask, we'll Paulo group anything currently mask and invert your mask. Group Mask, clear mask will pile group anything massed and clear all mass afterwards. The group change points button will pop playgroup, your last stroke. Merge similar groups, will poly group all meshes with the same poly count. What size brush selected, hold Control, Alt, and space bar to open a mini menu and select B radius. Now slices will produce double cuts with the thickness at by your own brush size. Note that your polygon count will determine how long it takes to process the slices. With their selection tool active. Click on Apollo Group to isolate it. And the split section, the split hitting option is now available to split two separate sub tool. The Group Split button is the fastest way to separate your polar groups into separate sub tools. Split to similar parts will separate meshes with the same poly count to their own sub tool. As we move further in the course, you will see that polar groups offers the type of control you want to edit and create hard surface features. Join me in the next clip to discuss modifiers. 11. Gizmo 3D and Modifiers: The gizmo 3D has a few hidden features along with modifiers. By default, your entire mesh moves when using the gizmo 3D. However, editing your focus shift will saphenous influenced the placement of your Gizmo 3D relative to your mesh also plays a factor, well how it affects your mesh. This is useful for smooth form exploration and smoothly manipulating hard surface meshes. Add a mass to this setup and you can actually do some sculpting this way. Perform a quick inflate or your mesh by control click and drag on the yellow scaling square. Perform a quick clip by control click and drag the rectangular or skill handles. Pulling in the opposite direction, it will clip from the opposite side of your mesh. This is a fast method of flattening one side of your mesh. Clicking the gear icon will open the modifiers menu. On the top row are editable primitives. Clicking will replace your mesh while masking everything. First, we'll append the message to your sub tool instead of replacing it. Also the placement of your Gizmo 3D is where your primitive will appear. All modifiers feature adjustable cones. They act like sliders. The following modifiers are useful for hard surface editing. Beginning with Ben, art modifier will let you Arc your mesh from a few directions. I recommend hovering over each cone to read this description at the bottom of each cube. And slippery explore pulling on each cone. At anytime you can reset your edits by clicking the gear icon to open the menu and clicking the reset button, reset and a modifier and your edits. When you're happy with your edits, click the gear icon and press S up to commit. The deformer modifier as a 3D grid over your mesh with movable points to deform your model. Simply click and drag on points to see its effects on your mesh. For easy viewing and editing, turn off perspective to move points. Manipulate a cluster of points by unmasking them. Be aware that you are currently unable to position your Gizmo 3D when using the former modifier. The red, blue, and green calls control your symmetry settings for each assay. The orange cones at additional points for adding your match. The symmetry options will only allow you to edit one side of your mesh, went active. Clearing your mask. We'll de-select your points. You can also scale and rotate clusters of points as well. The been curve modifier as points along your meshes, x, y and z axes for stretching, curving, and more. However, you may need to align your Gizmo to match the angle of your model. Simply click and hold the Alt key while positioning to reorient your Gizmo 3D, be sure to check positioning from no less than two angles when repositioning your Gizmo 3D. Restart the band curve modifier. And now with our gizmo 3D aligned to the object, simply click and drag on point to bend. The blue cone controls a smoothing of your bins. The two white cones control the squeeze and scaling of each point. And lastly, the orange cone controls the twisting or each point. This modifier allows you to add additional control points after manipulating for additional control without resetting your edits. Smooth all is a pretty useful modifier. Simply pull on the blue cone to see your model smooth all over. Taper is a handy modifier to add a cone tip to any end of your mesh. Simply pulling on any cone will show us affects. Switch up the position of your taper cones by altering the position of your Gizmo 3D. This will allow you to taper and different angles than originally set. The twist modifier allows you to quickly twist your managed by pulling on either of six cones. At the orienting or Gizmo 3D, you should be set to use any other modifier. The extender modifiers, another useful modifier, extend your mesh along its local axes with the orange cones. Unable symmetry with the red, blue, and green cones increase resolution along each axes with the white cones. I found this particular set of modifiers useful for hard surface. Do play around with these and other modifiers. In the next clip, we will discuss Booleans. 12. Booleans: Zebras has a few different ways to approach booleans. Let's cover them. Subtract one sub tool from another. And by placing the subtractive sub tool under the additive one. Next set sub tool Boolean mole to subtract and now merged a sub tools together with the Merge Down button. Lastly, DynaMesh, the newly merged sub tool. Processing time depends on the DynaMesh resolution. These are called Boolean operators and they affect the type of Boolean process that will take effect. In this example, we will set this rocky texture sub tool Boolean mode to subtract. First, ensuring that we placed it under the chest piece. I want to subtract from. Next, merged down the two pieces. You'll notice that subtractive meshes always have a white poly groups. At this point, DynaMesh to process. In order to process the intersect Boolean operation with DynaMesh, you'll need to open your DynaMesh sub menu and click the Send button here. Zbrush will leave you with the intersection of your two meshes. After inserting meshes into your sub tool, you can set any visible mesh to be in subtractive piece by opening the Apollo Group sub menu. Next, locating and clicking the group as DynaMesh sub button. Your mesh will turn white as visual confirmation. Now simply DynaMesh normally to see your results. Hollow out your mesh with the create shale button. Use Boolean operators or group as DynaMesh sub to mark subtractive meshes. Next, set of value on the thickness, lighter and pressed it creates shell button to view its results. Live booleans is a better approach with their sub tool Boolean mode set, open the render menu and under your render sub menu, precedent enable the Live Boolean mode. This will allow you to preview the effects of your Boolean prior to processing it. You can move, scale, rotate, and sculpt on a Boolean mesh, no different than any other sub tool. Also, note, if you solo mode the subtractive Boolean mesh, you will view it normally. When you are ready to turn your live boolean results into actual geometry, locate the Boolean tab in the sub tool sub-menu. Press them, make Boolean mesh button took a by all visible sub tools alone, which are live Booleans preview into a single Z2. You will find the new meshes added to your Z tool section. Booleans is a very intuitive and powerful way to scope hard surface warms and ZBrush. And the next clip, we will discuss custom UI and hotkeys. See you there. 13. Custom UI and Hotkeys: Customizing your interface will put your favorite tools even closer to enable customization with the Enable Customize button and the prefaces menu. Now whole bulk Control and Alt keys to click and drag to move interface buttons. Click and drag anybody or brush to one of four shelf areas. Zebras offers a great deal of customization. Even grab that enabled customization button and place it. When done editing, deactivate the enable customization button and navigate to the config sub menu. Options too low or save UI are here. Click save UI to store your UI setup wherever you want. And click Store config to store your current UI as your startup UI. When you open up ZBrush, a pop-up message will appear saying the same. The restore custom UI will reset any changes made to your UI back to the stored config UI. And restore standard UI will restore ZBrush to its standard default UI. Custom menus take your customization to the next level. Open prefaces and click Enable, Customize. Next open and custom UI sub menu and press the Create New Menu button, give it a name. You can always change this later. Press Enter to commit, and place your custom menu at the end. It will hop in alphabetical order, wants clicked, Open and drag to adopt for further editing. Just like before, hold Control and Alt keys while clicking and dragging and place items into your new menu. Each row of place aisles will align left until the row is filled. It can be switched around by dragging over one another. Removed by control, clicking and dragging items and to your viewport. Organize more with sub pallets with Enabled Customize, active coping custom UI sub menu. And at the bottom is that custom sub palette. Simply Control Alt, click, and drag into custom menu. Now use the same key combo to drag items into your subnet. You note that this suddenly you can't be moved after placement lives within. So be sure you're happy with your placement or you'll have to remove everything. Basically, start over. Add as many sub menu that you like, evenness and then within each other, give them names by Control, Alt, clicking the title bars and typing in a name. And then click Enter to commit. Click the title bar to collapse this sub menu. I stated before, if you want to remove or delete a sub palette, you will need to remove all of its items within. Then you can remove the soft palate itself, wants to empty. With Enable Customize, disabled. Use Control Alt Click combo to assign custom keyboard, hotkey, toothbrushes or menus. When this message appears, press your key or keys of choice, you brush, we're likely to display a message to let you know you're hot key or choice is being used elsewhere. And clicking OK, we'll replace it. I have simple keyboard letters, hotkey to my most used brushes. And added bonus of hotkey in your custom menus allows you to bring them up anywhere onscreen your cursor is located. Wants done editing hotkeys, hoping the hockey sub palette, click Store, so ZBrush will load them automatically upon opening in the future, click Save to store hot key config in a different location. Pressing load allows you to load custom hot keys and Restore will return all hot keys to their defaults. At the moment, this is my custom interface. Often change portions of speedup tasks as needed. Along with many custom menus alone, we assign hotkeys, allow me to work full screen for periods of time. In the next clip, we will discuss morph targets and history. Recall. See you there. 14. Morph Target and History Recall: Harness the power of z brushes, undoes and much more. Hoping you are morph target tab and click store empty to store the current state of your model and to memory. Now sculpt and make changes to your model. After completing several strokes and various edits, select your morph target brush. Now brush over your model to restore it to the state stored into memory. Be sure to try adding your brushes folk worshiped, as well as the intensity to have an effect over your transition. You can click the switch button to jump between your current state and the state stored in memory. Click the Delete and T button in order to store a new more Target. Store a morph target. Next, make a couple of strokes on your mesh. Now returned to the morph target tab and click the Create def mesh button. You won't notice anything at first, but a new Z tool containing all edits made after storing your morph target has been generated. Click a pin and select the Z tool label morph diff to add to your sub tools. This is a great feature. The ability to turn your strokes and other edits into the fast geometry is very useful. Trial all sorts of surface edits you like to split off. You can even carve into your mesh after storing a morph target and use create div to generate a negative mass representing a stroke. After appending, you can then use this as a Boolean mesh if interested. And this example, we store a morph target already. And I'm going to make a stroke at the top of this chess piece and one at the bottom. And the reason being used, the interpellate feature set to one to put a stroke in the middle. Now with that being done, when to use it, create def mesh button. It didn't undo those last strokes. Click pinned, and add those strokes to our sub tools. The history recall brush works much like the morph target. The big difference is that the history recall brush allows you to pick when in your previous history to store into memory. Simply Control, click a previous history state to store into memory. Now move forward, returning to your current state and use the history recall brush. This brush is perfect for realizing a mistake on your model. Only having done too much work to undo it all. In his demo, we're going to continue to ask some preliminary details to this chess piece here. Just performed a bit of interpellate there to add that repeating shape there. Now I'm just using the dam standard brush along with the Shift key to create some straight edges. All right, and now those are set. I'm just using adjust to pump up that value. Now and go all the way back and storing a history state. And back forward. I'm going to grab my history, recall brush. And keeping in mind this only works on one side of your mesh, so you have to deactivate symmetry. I suggest working on the stage right side of your model will make it easy to mirror and well, using the x axi, that pretty much sums up the morph target as well as history recall brushes. One requires a bit of planning while the other one can be used freely. Join me in the next clip, we will discuss mesh brushes. 15. Mesh Brushes: Mesh brushes is a great addition to your heart surface brush set. The mesh brushes have a large lazy radius, making them a bit sluggish for me. You can lower your lazy radius within the stroke menu inside the lazy mouse tab. Remember control plus shift while drawing will add to your mesh and Control and Alt while drawing will subtract from your mesh. Be sure not to move your camera to retain for additive and subtractive abilities, you can enable the camera a lot functionality located here and the draw menu. Once on, you'll be unable to move your camera. The mesh brushes operate like projection tools in ZBrush. So be sure to toggle perspective of when using them for accuracy. Not only can you use any brush feature in combination with the mesh brushes like repeat last, but also control this output with the mask Mesh Modifiers. Here you have control over your resolution, smoothness and Bevel. Increasing the resolution simply as more polys, smoothness rounds off your corners. And Bevel controls the size of the angle fall off of your edges. See your edits by undoing your stroke. Now press the one key to replay. You're a little stroke this time with new settings. Increasing resolution and Lorene smoothness create sharper edges. Alternatively, lowering your bevel can have similar effects. Trial different stroke types with mesh brushes. Mostly these four here. Curve is a good option for sharp corners. Just IZ brushes, other curve brushes. Tap, all wants to change the direction of your curve and double-tap to create corners. Circle. Does circles great for cutting holes and previous mesh brush strokes? Click the Stroke preview to open additional options and disabled the square option. Now allowing you to make non-uniform shapes while dragging out your shape. Use the space bar to reposition. Now with the wreck stroke. Click to enable the square option to create perfect squares from the center of your stroke. Disabled both square and centered option is to create non-uniform rectangles. And your direction of choice. The wreck stroke combined with an Alpha, will generate instant geometry and the custom shapes. Combine this with your ability to add or subtract from a previous stroke to get some serious power. However, the mesh brushes, we live Booleans activated. Your brush behaves differently. Holding the Alt key while drawing with mesh brushes will now generate a new sub tool. Instantly set to subtract and Boolean mode, toggle solo mode to isolate NC without Live Boolean, don't need to hold all now to subtract. Simply draw new shapes with the mesh brush normally to add to the subtractive Boolean sub tool. The same process goals for holding the Shift key to generate a new additive slash union sub tool. With the new union boolean sub tool created, simply draw shapes as normal to add more. The ability to move around your model while adding to your flushed boolean is super useful for higher surface working. Join me in the next clip, we'll discuss the layer brush. 16. Layer Brush: Let's cover the layer brush and it's awesome features. The layer brush by default changes size with pressure. And your preferences menu, open a tablet tab and disabled the tablet feature. Now your strokes will stay the same size. Lastly, open your quick menu to double-click Dynamic to ensure that your brush size remains the same size. No matter if you're zoomed in or out. The brush needs a bit of help going over steep angles to fix that opening your brush menu and within the auto masking sub palette enabled back face masking. Now your lab brush is perfect, is natural bevel and clean edges can deliver one stroke finishes. Holding Shift while using your layer brush is a great and natural fit for hard surface work. Try adjusting your last stroke width, they adjust glass slider. Normal strokes will overlap. However, the layer brush with a morph target Stuart, will seamlessly connect together. This scene is from having back face masking on, which could be a desire. But be sure to disabled back face masking on your morph target. Now brushes normal to maintain consistent height. Typically you'll be using all additive strokes or all subtractive strokes. Things get a bit Genki putting them close together. Your layer brush and morph target combo also has a really cool clipping of fat that is linked to smaller brushstrokes and countering larger brushstrokes. I will take advantage of this feature, starting with a large size stroke. Next, some test strokes with a smaller brush. Now with the smallest stroke and make two strokes, one at the top and one at the bottom to use the interpellate feature. As I said in my stroke count, I'll press to interpolate, to fill in the other strokes all being clipped by the larger layer of brush stroke. If you're new till they're brush, I encourage you to play around with it. Try it normally, then temporarily disable your tablet to maintain a consistent height. Next, try storing the more target to seamlessly joined your strokes together. That sums up the layer brush gentleman. In the next clip, we'll discuss visibility and masking. 17. Visibility and Masking: Control over visibility and masking will speed up your workflow. Most of the visibility sub palette requires partially hidden geometry. Pressing the high DPT button will hide unmasked Pauli's. And clicking the Show PT button will unhide everything. Clicking the girl button will expand your visibility of your mesh. Clicking the shrink button does the exact opposite. After hiding a portion of your mesh, click the girl All button to reveal a complete mesh. Grow to polygraphs will reveal the entire poly group oven partially hidden portion. The outer ring button will hi all but a ring around your partially hidden mesh. From here, use one of many masking related features like extract. At any time while working on your model, you can easily mess any of your recent strokes or surface edits by opening your mass sub palette and pressing the mass change points button to mass. More of your recent edits. Go back in your history steps and control-click the history points you want to reference. Next, returned to your current stage in your history. And press the mass change points, button. Mass change points, closed circle option creates soft edges, soft and more with the dilute Mask button or fully masked or sharpen and with a boost mass. But alternatively, you can mask with the open circle option to fully master stroke or edit. Mass by features allow you to match your choice of borders, groups, or creases of your mesh. The group's button enabled mass by feature will place mass where all your groups meet another high poly models. This can be thin and hard to see. Initially, used grow Mask button to expand. The Border button requires your mesh to be partially hidden. Once done, you can mask the border of the visible portion of your mesh. Once again, use grow mass to grow in size. There are multiple methods of applying creases to your mesh. But with the use of the crease brush, you can quickly place crisps. Can also be hard to see on your model. But if you zoom in, you can see this dotted line. Enable the crease button option, then press mass by feature to mass alone your creases. Enable the crease button option. Then press the mass by feature to mass along your creases. Wants done, use repeated presses or the girl button to add some value. Next, we're going to move up in our tool menu and expand the sub tool palette. Next one and click the Extract button. And this is a type of details you can create easily using some of these masked by feature buttons and draw them. In the next clip, we'll, we'll cover polish and group loops. 18. Polish and Groups Loops: Polish leaders and group loops can produce hard edges on your mesh. In Australia, for the hardest of edges, the Polish sliders is one of the best tools in the arsenal. This cylinder has creases on one side and polar groups on the other, using the pause by groove slider. And we'll polish edges between poly groups to find smooth edge. Using the Polish by features slide and we'll polish both poly groups, increases. Repeat to further polish or mesh. The open circle option will process your polish more aggressively. This fear has poly groups to demonstrate what happens to your mesh when using either of the Polish by sliders. Click the repeat to active button to repeat your elastic deformation. You can see that not only does it create edges on your model, but it also shrinks it a bit as well. Now we'll hide a few of these poly groups. Then regroup the size, the same poly group. And then next we'll see what happens when we polish. What you'll see is that zebras rounded the areas that had the same polygraph. Open your light box and click the brush tab. Next, openness smooth folder and locate the smooth by groups brush. First, a sample of the standard smooth brush. Next, undo. Select the smooth by groups brush. This brush produces the same effects as a Polish by groups defamation, but with a brush instead. In order to gain access to the group loops options, we need to add a portion of our mesh to get things started. With that done. Open the edge loop tab in your geometry sub palette. Here you have a group loops button. We have a number of loops, slider and a G polish slider or Smoothing. Click the group blues button to create a series of loops around the once visible portion of your mesh. Control. Click to unmask the center of the polygraph and manipulate it to view the clean edge it produces. This demo here we're going to create a guard rail on the size for our mic. Here. From the side profile, I'm using the mesh brush with the Lasso mode to draw out general shape of the guard rail. Making sure not to change my camera angle. I'm just continuously using this mesh brush to add and subtract holding the Alt key and occasionally the space bar to move my mask around after having drawn, it. Often uses to align with other edges to make sure I have them straight or parallel. That's looking pretty good. I'm just going to move that into location and give it a rotate from the front view here into position. Alright, like that shape thus far. Let's add a little detail to this rail here. I'm going go ahead and split unmasked parts so that the rail is now on its own sub tool. Now let's do a little bit of work on this. I'm going to hit divide the sub-divide and add a bit more geometry. And you can see we have poly groups on this. I'm going to isolate the poly groups on the size here. Next, I'm going to invert my selection and open the visibility tab here. Click grow a few times my poly frame and see what we have. And I'm just going to Control W to poly group that. Now I'm going to go in here and hit Polish by groups with the open circle option. And you can see it gave me a slightly rounded edge on the site. Just undid that real quick to perform a nother edit before committing to that is isolated in the yellow parts. And now I'm shrinking my mask. And now we're gonna go back up to the edge loops and quit group loops. But we still have subdivisions on this model, so we need to remove those. So use group loops. Now I'm going to quit group loops again. And now I'm going to go ahead and use inflate has given me a bit of artifact in there. Just because we don't have the right group selected, we're going to go ahead and control click that center groups. And now you can see our nice clean edges there. So before we leave it at that, just go ahead and hit Publish by feature to see what that looks like. It can be a desired effect. But I want a nice rounded edge. I'm going to grab this area here, poly group it. And knowing how ZBrush treats groups that are similar close together. I'm going to pause by features and will give me a nice rounded, puffy light area there. This is no doubt a secret weapon for horror surface sculptors. Join me in the next lesson where we will cover 0 measure. 19. ZRemesher: 0 measure of return your high poly models and to low poly models. At anytime you can use Z remeasure to convert your high poly mesh into a low poly mesh with the push of a button. Reasons for using 0 measure would be to improve topology for sculpting, to convert into a quiet mesh or rebuild clean, hard surface base meshes. Save an image by opening the Transform menu and clicking the Snapshot button. Next slide over your mesh and undo. Enabling legacy 2018 setting will process your topology differently. Alternatively, holding the Alt key, win precedent Z remeasure button. We'll give you a third method of distributing your topology. Moving forward, we will focus on these 0 measure settings here. What symmetry enabled 0 measure will generate symmetrical topology even if your mesh isn't symmetrical. Also, tiny symmetry off. We'll do the exact opposite TO generated topology. 0 mesh, partially hidden portions of your mesh by Control Shift clicking to isolate and click 0 mesh to process. When done, your whole model will be revealed with the new topology intact. If he's move at the edges, you can see the seam stitch in both old and new topology. Enabling the key groups button will keep the exact poly groups and their colors after 0 meshing your model. Another example of key groups. This time we'll more poly groups. When done ZBrush will retain the shape and placement of poly groups. If given enough resolution. Smooth groups will smooth your Apollo Group edges. By default, the slider is set to max and produces cleaner results with the slider set to 0 or all. The new topology will have no smoothing apply to your poly groups resulting in a rougher but closer to the original mesh. I've marked the pink pilot group and the same with creases. Give priority to your creases and when you enable the keep creases button areas mark what creases will be given extra detail and poly flow to retain creased edges. Default settings will produce these results on this mesh, enabling the detect edges button and will produce slightly better topology along with creased poly groups generated from detect edges. The target polygon count slider sets your intended poly count for 0 measure. Do know the ZBrush will do his best to hit this number measured in thousands, as well as retained for the current poly count can be seen on your title bar located here. At the 0 meshing with the target of 5 thousand zebras felt it was too low to retain most of his form instead gave me nine K mesh. However, if you undo and hold the Alt Q impressions that you remeasure, you will generate a mesh that is closer to your target count. These buttons will place her poly count slider as poly count presets. The first one is half. Enabling this button before 0 meshing will generate a mesh with roughly half of your current poly count. The same button when enabled, will generate a mesh with similar poly count to your original mesh. Low poly models, 100 thousand polys or less can use a double button to increase your poly count and by two when D remeshing the dapp button when enabled, we'll prioritize better topology for retaining form over your poly count target. Combined with adaptive size slider, you can tell ZBrush how much it should ignore your poly count. Target. Setting in a slide or 200 gives the brush full control to generate his best guess at good topology, even with the poly count target set to 88 thousand to reprocess. So your master is frugal with the poly count, resulting in the almost 2 thousand poly count model. In this example on the left is a model 0 mesh with the default settings. Knowing the right is the same original mesh with curves being drawn using a Z remeasure guides brush. The brushes for drawing curves that show the layout of your poly groups of your new topology. Once done, you can use the curves strength slider to tell ZBrush how strict issue follow the curves. Then 0 mesh to see as a result. And this is while I'm drawing some wacky unusual guidelines in order to see its results. Once the Romesh was done, you can tell they're ZBrush will follow these curves pretty closely if given a high value on the curve strength slider. At the 0 mashing your model. Lawyers smooth groove slider and 0 mesh again, sometimes it's produced slightly better topology on your model. Next, opening herself tool palette and expand the project tab. Inside is project all and project history. In order to use Project history, we need to go back and undo history and hold the Control key to click to store a history point and back again. Now click the project history button to project your details. Subdivides your model and repeat the process of pressing and project history button. This is how you build or rebuild your subdivision levels within ZBrush. That wraps up 0 measure. It is your bridge to the world of low poly editing as ZBrush. Join me in the next clip, what we will cover Z modular. 20. ZModeler P1: Create low poly meshes using a smaller brush. With your smaller brush, active, hovering over edges. Points, or polygons will highlight them. Holding the space bar key will open the corresponding palettes for each highlighted component. The pallets are split into three sections. The top or your actions, the middle are your targets, and the bottom Margaret modifiers or extra options. Altogether, they form a custom polystyrene. Zbrush will use the default or last action target and modify our combo settings used for each component until they are changed again. When hovering over components, zebras displays and small white text, a current action linked to your brush. Holding the Alt key, click and drag to paint temporary poly groups or selections. These allow you to mark all Pauli's. You want to edit what they extrude action currently set. Alternatively, you can use the target section of your palate to apply actions to multiple polygons. With Apollo Group all target set. Your actions will be applied to polygons with the same poly group. When applicable, finding the right target can save you some time. Z Marla is worthy of an entire course. However, we will cover a few common actions and settings with each component, starting with the polygon actions, with the bridge action selected, change your target from connected polys, two polys. Now simply click the first poly, then the next to connect. Continue clicking on sets of policies in order to repeat. The delete action is pretty simple. One select it, click to delete the Pauli's you want to remove. With the extrude action, you can push in pool polygon's, try Alt, clicking the setup temporary poly groups to extrude. The interaction will create a polygon within the polygon. Switch from center in border to border only in the modifiers. Now you're insects will create hole in the center. Now switch to the center only setting. This will create an open border around your polygons. Change from inset region to SSH Polly to see us affects, even with multiple poly is being edited, they're processed as individual polys compared to the inside region of setting that manipulates all selected polys as a group. With the Apollo Group Action selected. Simply click to apply new poly groups. Click hold and press the alt key to switch between Poly Group colors. Click hold and press the Shift key to copy a polygraph color. Next click to paste it. Also be sure to use temporary poly groups to apply to multiple polys. With the Q mesh action selected. With one-click, you have the ability to extrude polys in combination with snapping emerging two adjacent Pauli's. Q mesh will connect to Pauli's varying in size similar to the bridge action. In addition to extruding, holding the shift key will pull the poly instead. And holding the Control key will duplicate and offset the Pauli. You can definitely get a lot done with Q mesh. Now wanted to edge actions starting with devil wants selected, your brush will babble any edges or poly loops on your model. With a bridge edge action selected. You can bridge between two edges by clicking on one edge, then another to connect. Opening your Palin and switch or target from edges to two holes. Now you can connect two holes by clicking on a single edge of each pole. Press and hold. Now move your cursor left and right to control the elevation and up and down and control your resolution. The clothes action works the same as Close Holes, button and ZBrush. Simply click an edge to cap your whole, hoping your palate and switch or target to convex whole. Next click and hold. Sliding your cursor left and right to control elevation. And up and down and control resolution. With Extrude edge. Actually select it. You can click and drag to extrude and connect edges. Extra features are highlighted in small text under your cursor. While extruding the edge, press the alt key to extra, all connected. Your points will connect emirs with nearby points. Press the Shift key wants to change your extrusion direction. Press the Shift key a second time for another direction, and a third press will return to your original direction. You could bill out meshes with Edge Extrusion if you like. What the answer action selected, you can now insert edge loops on your mesh. Hoping your palate. That's what your target to multiple edge loops. Now when you click and drag, you will create multiple loops along your model. The slight edge option is pretty straightforward. Quick and dry edges in order to slide them around. The spin edge action will rotate your age by clicking. Holes may appear depending on the resolution of your mesh. Now onto some point actions, starting with the move. Once elected, you can now individually move points around on your mesh. With a slash mesh, action is selected. You can slice through polys by clicking and dragging across your model, or by clicking on individual points. Open your palette and select a do not crease option for crease free slicing. The split action will create edge loops around your points, great in circles. Open your palate and switch your target to ring to create rounder circles may using triangles. The stitch action will merge two points together simply by clicking on two adjacent points that will merge to the location or the last point. Hoping your palette and change or modify or to mid point. And now you're merged points we'll meet in the middle. In the next clip, we will demo a creation of a grenade was Z modular and more. 21. ZModeler P2: In this clip, we'll create a grenade using Z modular. Will start the project off with a sphere. Here. I'm going to use the modifiers to append a sphere 3D primitive. Next, I'm just going to lower my spans, 29 on one side and seven. And the other. Next, more alarms going to stretch things out a bit. Business scale handles my selection tools to hide the caps. And L z molar. I'm going to use insert loop to delete loops holding the Alt key. Next one to use masking to unmask the top portion. And just use my gizmo 3D to manipulate these points, which is one of the great features of Z modelers or ability to use your normal sculpting tips, tricks, and methods to edit points. On top of useless Z modular itself. I got the top white. Now I'm gonna go to Slide and then select complete loops. I'm just repositioning needs to get them more square-like. We all. Now to inset, I'm going to set the inset target to all polys. And then I'm also going to select and say each Pauli for the modifiers. Now we've inserted every polyester visible. I'm selecting extrude and Pauline group all. And I extrude it every poly group with the same color. Next one add a bit of a taper TDS extruded squares here. So I can go to the scale action. And next I'm going to go ahead and select the pilot group, all and polygons center. And just kill those. That's pretty much the body of RNA here. So far. We're going to work on the neck of the grenade here, starting from the top, I use insert loop inside a loop up top. Now on unmasking and polygons in it. I'm going to sit in my gizmo 3D. He was one of my favorite feature which is Control click and drag. To perform manual extrusions, is fast and alternative method to use an easy modular extrusion. Next one, when I drag out a mass to poly group that top selection of polygons here. Bit of a clip with my transpose selection tool to isolate these polygons and poly group. I answer a loop. Now unmasked this Poly Group Center, my gizmo 3D Control click and drag to extrude that set of polys. Now we have that extra. I'm gonna do the same on this set of polys. Just create the kind of the top cap of our grenade here. Pulling up bottom portion down a bit and just manipulating a few things, trying to get a bit of a taper front end. Okay, Now that we've got that all set, go ahead and unmasked. It's probably here and use my transpose to clip it. Next, we'll move on and grabbed the slide action for the edges and slide this loop down. Instead, I'm just slide this set of edges down here using my masking. That's what going to Alt click and drag to paint a temp polygraph, an extruded outward. See how things look from underneath here. It looks like insert, place a loop and another extrusion downward. And now from here, I'm going to extend this clip or handle using Control click and drag to extrude the rest of it. I only use insert loops to play some more loops along the span. And now my move infinite brush. I'm just going to edit this curve. Alright, I like the way that's come out. Now what most of the grenade flushed out now, we'll add a few more details. Just masked off everything, and I'm open up the modifiers to append a ringing 3D. Just going to rotate it 90 degrees, scale it upward. And just placed this pin or ring safety pin, I believe is called interposition. Think I don't need any of these cones, but to just thicken it up a bit. Alright, and I just control click and drag to duplicate another handy feature, other control click and drag combo. And I'm just placing this into position and using the scale handles to widen it. I'm going to unmask this section here and just pull it backwards using my gizmo 3D. Just going to zoom out and see how things look up. From here. We'll navigate to the geometry tab and sub-divide just to show what it looks like we're subdivision. Now grenades in need of some support edges in order to maintain its shape and the hard areas. Use an insert loops, place them at the edges like so. Hidden sub-divide. You can see the difference. Okay? That wraps up the creation of our grenade. However, there are a few more tips and tricks about z smaller I'm going to cover. After performing the action on your mesh, simply click to repeat the last action. This can speed up your workflow when modelling z modulo worse with symmetry activated, choose your axes of choice. Model away on symmetrical meshes. Use temp poly groups to do even more. If needed. The modeler will even work on partially hidden meshes. Model on flipped or reverse side of your mesh with z modular as well. The slides of brushes, the only way to cut through your mesh. When combined with z modular, you can quickly poly group in place loops and edges interactively. Using Z bottler on sub tools with high poly meshes will result in a drop in performance. To resolve this issue, simply split your low poly mesh into a separate sub tool. Wants done, all will work as normal. The topology brush is perfect for generating custom geometry. For use with z modular. Use cursor, lay out your poly flow, then click to create. Once done, you have polygons ready for interacting with D modeler. Opening your brush tab and lightbox. Next, open up z modular folder and double-click to select the Z mala topology brush. This variant of the Z MATLAB brush has snapping enabled. Click and pull to extrude edges, snapping to visible sub tools. Click and hold the Alt key to extrude a row or ring of edges. Move points around and snap together by pressing the Shift key as likely the best way to reach top or your models by hand. And ZBrush. Marla is a very versatile and useful addition to hard surfacing tools within ZBrush. At the next clip, we will cover penalties. 22. Panel Loops and More: Tiger poly groups and to bevel panels with panel loops. Panel loops is located in the geometry, so palate under edge loop tab. These are settings. You need at least two polar groups to use pen loops. Use a size brush or any other method or poly group and your mesh. When done, navigate to the panel loop section and press panelists button to generate panels. Apply smooth into your mesh and you'll see is still one solid piece enabled panel moose double option to turn your poly groups and to complete shell panels. Apply smooth wildness segments showing that they are now individual shells. Use your selection tool, longer pen a loose to create all sorts of shapes. Panelists is a very versatile feature. Use it to create bevel edge segments from single-sided meshes. Disabled the double option in order to enable the Enter button option for penalty BS. Zbrush will perform a sort of inset on each poly group. Also tried to switch our selection tool to generate some interesting results. The pin feature is one of my favorite pen. A loose options wants to enable, press the pen and lose button. And ZBrush will generate a new panel Shell base off any visible polygraphs on screen. Also be sure to try to pin feature using your selection tools. Sending that thickness is usually a trial and error sort of affair. Very small thickness values usually works fine. However, as he did overextend the thickness, whereas overlapping edges, one way to resolve overlapping edges would be to use the Polish by features deformation to clean things up. This method will smooth everything for more accuracy around edges. Use the mass by features option with only poly groups selected. Inverse your mask. And now apply polish by features to clean up your edges. The polish slider controls the smoothing apply to your mesh and the penalties process. The effects on your edges can be subtle depending on the poly count of your model. Then ignore Groups button when enabled will apply penalties to your visible geometry. Ignoring your poly groups. The regroup panels button when enabled, we'll regroup the panel portions with the same poly group. The regroup loops button when enabled, and we'll regroup the loops portion with the same poly group. The bevel slider controls the bevel size of your panels. Higher values create overlapping. So use polish deformations to clean up edges. The elevation slider controls the direction ZBrush expand your thickness of your panels. A value of 100 will produce a very inflated it look a value of 0. We're produce less inflation and a value of negative 100 and will produce no escalation. The bevel profile graph controls the shape of your loops. The number of points used, nice or roughly correspond with a number of loops use with a total of four points on the graph. I was at the loop slider to a value of three. Next, I will isolate a portion of the mesh and clay panel loose with the following settings. Next I will isolate a portion of the mesh and click pen and loose with the following settings. Zoomed in, you can see the same profile shape along the edges. Simply click and drag on the curve to place new points and reshape your profile. Though this graph has a total of eight points. We can get by with one less loop if needed. I'll select my loops and set it to seven and click the pen loose degenerate. Once again, when zoomed in, you can see the same bevel profile along the edges of your loops. The delete loops button works together with the angle slider. Zbrush will delete poly loops that are below this set angle value. Ultimately, the higher the value, the more loose that will be deleted. This is helpful for quick poly reduction. On the left is a delete loops, and on the right is a line, whoops, align where similar to delete loops. And this results on the left is the partial option for delete loops. And on the right is the Groups option for delete loops that wraps up panel loops. In the next clip, who will discuss devil pro? 23. Bevel Pro: Bevel your polygraphs with bevel Pro. The mesh on-screen was made using Booleans and it's one solid mesh as seen here, by smoothing. However, sometimes trying to open bevel pro might display a message saying that your mesh isn't watertight. One simple way to resolve this is by opening the Modify Topology tab. Click on the Close Holes button. Now you should have no trouble opening bell pro. The new bevel Pro window has saved low and reset buttons along the top, I suggest clicking the reset button before getting started. Your edges are marked in three dotted lines. Blue represents your poly group edges. Red represents the amount of bevel being applied. And pink is the offset of the bevel. The Polish by group slider worst the same as the defamation, my smoothing or poly group edges. Occasionally you might find gaps along your edges. In order to fix this, press the fixed edges button to attempt to resolve this. This doesn't help as a likely more than two polygraphs along this edge. Enabling the auto apply option will remove the color edges, giving you a preview of your final results of your bevel. Enabling the preview edges option will show you the low poly cage controlling your bevels. The bevel amount slider controls the size of your bevels. The bevel smoothness slider will smooth your bevels. You'll want to keep the sharp said anyone at all times. Additionally, not only can you process bevels, but Schaeffer edges as well. Enabled to create smooth, rounded edges, enabled a low poly option to improve the results on low poly models. The mesh edge resolution slider will produce smoother edges. When you increase. The mesh, offset amount controls the range of your bevel cage. When done editing, click the Okay button to process your bevels. And they will poly frame and you'll see that your bowels are also poly grouped. Inside double Pro, the advanced options would generate your bevels and chamfers into separate substance. The smooth connection options moves the edges of your chamfer results. Triangulate bevel junctions will smooth the corners of your mesh. When done. Click Okay button. Then view your newly generated sub tools. This first sub tool is for the inner bevels like this. And the other sub tool is for the main outer bubbles like this. Poly frame with Live Boolean has a different look when enabled a view your bevel by using solo mole or disabling live Booleans preview within the render menu. Some artifacts can appear on your Live Boolean preview. The best way to clean up the straight edges is to use polished by features defamation, just smooth out the edges. Also masking portions of your mesh will apply bevels to the unmasked portions inside bevel profile. That wraps up bevel pro. Give it a shot on your next horror surface creation. And the next clip, we will cover creases. 24. Crease: Creasing as a good way to retain or create hard edges on her mesh. When two edge loops are placed close together, they will maintain a hard edge in that location and then subdivided. Alternatively, place increases. We'll do the same. Pressing the crease button in combination with the angle slider, will place creases on your mesh. These thin dotted lines are your creases. Now when subdividing your edges will stay very sharp. The sea tolerance slider will crease edge loops equal to or higher than the angle set. This can be useful increasing only the edges. Your mesh has certain angles. Additionally, pressing that crease all button will crease every polygon on your mesh. Use selection tool to isolate portions of your model and increase visible borders with the increased button on crease, all visible policies would increase All button. You may also place creases on all visible polygraphs. By pressing that crease PG button. You can also remove creases by polygraphs with the increased PG button. Tell zebras to ignore creasing after reaching a certain subdivision level. I said in the crease level slider, with every polygon now creased and setting the value of two on the crease level slider and start dividing up to three times. You will see our creases remain the same until our third press other side divide button. You can also increase edges using Z modular edge actions. Here you will find the crease action along with different ways to apply it. With the default target set, you can apply creases to individual edges. Alt clicking will remove Cresus. The edge loop complete target is likely the preferred way to apply creasing. You can also apply creasing using the crease modifier, the single blue cones as the angle for automatic creasing. It's pretty much the interactive version of the sea tolerance slider. The crease brush is always available to you for quick interactive crease placement along your model is best used with perspective disabled. Under the crease buttons are bevel options. Using the bevel width slider will replace your increases with bevels. Click to enable the width button in order to maintain consistent, evenly spaced levels. The resolution slider and we'll subdivide your bowels. Alternatively, using the bevel width slider without creases does nothing. However, control click and drag on the slider in order to instantly bevel your poly groups. This feature is very handy. Next time you're using a knife brush to cut up your model. Try Control clicking the bevel width slider, SES or results, that wraps up creases. In the next clip, we will cover dynamic subdivisions. 25. Dynamic Subdivision: Preview your model subdivided and much more with Dynamics subdivision. Dynamics subdivision allows you to toggle on and off a subdivided preview of your sub tool. The queue gray slider will apply a grid style of subdivision to your mesh. The covers slider below controls are results of your bevel or chamfer enabled options. You can enable both options if you desire. The constant button will keep your bevel and chamfers size is consistent. Smooth subdivision is a normal method of subdivision and flat sub divisible sub-divide as normal without any smoothing, apply. These settings while useful, aren't critical to use in dynamics sub div. Dynamic subdivision with all settings off, but smooth sub divs will display small handles around your mesh. The real beauty of dynamic subjects is how well it works with creasing. Select the Z modular crease action along with your target of choice. And simply click to apply creased edges along your mesh. Using a smaller brush with Dynamics hub does can be a bit frustrating when selecting edges. Triad increases or edges would it turned off? When done, simply enabled the dynamic sub div button to preview your subdivided increased edges. Another good way to apply creases to your mesh is to open the crease section and apply creases via decrease button. Now which are mashed crease uses the mandala crease action to Alt click and remove creases to smooth edges. And the center of the settings is the thickness slider, slippery slide to control the virtual thickness of your mesh. The segment slider as extra segments of geometry along your thickness of your mesh. The post sub div button will visually change the look of your thickness edge. The smoothness slider controls the amount of smoothing applied to the thickness edges. The offset slider controls the direction your thickness is created. In this demo, we're going to use a combination of dynamic cell division along with z Moller to perform some edits. Dynamic subdivisions enabled. I prefer to work with just smooth sub divs set to two or higher. Since this piece has poly groups laid out, I'm going to click the crease polygraphs button in order to apply. Creases alone are probably groups here. So now I'm going to come in and along this edge here, I'm going to create a temporary poly group, but my Z modular brush. Next I'll use Q mesh to extrude the outward. Now right along the base of this extruded shape here, I'm going to switch to the crease, demolished brush, and just click on edges here to make them nice and sharp. After this, I'll do the same for the corners to make them nice and sharp. The ability to quickly change your age types and zebras and extremely useful for higher surface work. Join me in the next clip. What we will cover thick skin. 26. Thick Skin: Thick skins debt plateau is useful for hard surface sculpting. This is a standard stroke for comparison. Enabled thick skin on your tool palette. Now when you stroke, your model will look something like this. Sitting the thickness slider sets of virtual cage on your mesh. This creates a natural clipping effect depending on your brush size and Z intensity. Depending on your brush, you choose. Its size as the intensity will affect how fast your brush will begin to clip. The following brushes work well with tics can enable Alt clicking while dragging with the Move brush will create a fast and easy circle shade, bevel or inset effect. Sculpting with a inflate brush with thick skin enable offers a nice gradual effect. Imm brush is like chiseled shapes works well with thick skin enabled. With a curve standard brush, hold, shift and click and drag on the curve to extrude your stroke. To move in the opposite direction. Switch your brush to z sub and do the same to insert your stroke. Thick skin enabled on your scribe brush turns your brush into a sort of taper bevel brush. After utilizing one thickness value, you can lower your thickness and brush again. When using multiple values, you can always go down but not up. Experiment with x going along with these brushes to add hard surface details and more to your creations. In the next clip, we'll cover stage. 27. Stager: Stage or allows you to switch or a sub tool between two positions, instantly jump between two custom positions with the stage or feature. Inside is only two buttons, home stage and target stage. Click Home stage to store current location, rotation and size of mesh. Then placed in a new position along with a change of size and rotation if desires. Wants done positioning the target stage button to store your second position. In order to switch between both stages, click the switch stage button. Any changes may, will carry over when you switch between your positions. Many of the pieces of this project on screen have stage or positions, such as the head and even his weapon as well. Stage is extremely valuable for working or symmetrical models. While quickly checking how they look poles. The base mesh for the shield has stayed. Your position is also two things to avoid doing. Apple Store and stage or positions are not rotating your mesh. And this will screw up your essay positions or even skew your model. The same applies to moving your entire model at the store and positions. Simply don't do it. The stage your offers the ability to copy Stuart positions from my shield to this handle sub tool. Simply press the Copy button. Next, select the handle and press the Paste button in stage or to adopt positions. Splinting sub tool with stage or positions will retain their stage of positions. After the split. This piece of armor has stored positions and stage I will mask off a portion and split mass points to separate. Notice that the stage of positions are still active. This is helpful when placing editing multiple pieces. Join me in the next clip while we cover some plug-ins useful for heart surgery. 28. HS Plugins: Zebras has a useful set of plug-ins for hard surface editing. Reduce your poly count and maintain form with decimation master. Decimation Master is a popular and incredibly useful to ZBrush users. Settings include freeze border for maintaining position of your open edges. Keep UVs for maintaining UVs. Using key poly paint for keeping your poly paint information. Along with poly paint white slider that allows you to prioritize your poly paint info over geometric and fall below that. Preprocess current will process your current sub tool, pre-process all. We'll do all your sub tools. This will when you're more comfortable with decimation master, the current sub tool has over 790 thousand Pauli's. Press pre-process current. This will take longer depending on your meshes density. Once done, you have many options for decimating your model. Decimation master settings consists of several methods of reducing your poly count. The first slide, it says that percentage to reduce by the second slider sets a poly count. And the third sets of value by 0 points. Below the decimate buttons are poly count presets to choose from. Along with a custom poly count slider. Choose from any of these methods, then press the decimate current button. Once done, your poly count will be reduced and your mesh converted it to triangles. Mass intersecting models with intersection master. Intersection master requires a watertight meshes. So prestige Close Holes button to prep your mesh. Wants done at a nor intersect meshes within your single sub tool. Use your Transpose Tool or Gizmo 3D to ensure that they are embedded. Once done, click the single button in the intersection master plug-in to perform masking. Once again, the time to process depends on your poly council of your meshes. Once finished, use your selection tools are high meshes to reveal the mass created on all intersecting meshes. This can be used along with masking options to sculpt on your meshes. Drought or poly groups. Will Apollo Group ID? In order to use poly group it? Solo view of sub tool, I select the paintbrush. Next, stroke your model with the color white to set your base color. Next, select black and began to tracing your edges to draw your poly groups. Try using a PG paintbrush variant included. Also hold Shift to trace straight edges. Sped up to show the entire process of tracing entire sculptor sub tool. This process is still fairly quick, simple, and very accurate. Switch to the color white to erase your black lines. Or simply undo your last stroke and repeat as I do poly group, it will only read poly paint to set poly groups. Meaning you can offset your lives for better angles and straight or poly groups. After awhile can fill a bit similar to the very top. We'll process. The rear of this piece won't be seen and will be left as one large polygraph. When done, returned to the Poly Group menu and choose from two options for generating poly groups. So that probably group it from paint and allow time for ZBrush to process. When finished, enabled poly frame to see your poly groups and you should see something like this. Disabled Polypanel, your sub tool, as well as switch back to the color white and view your polygraphs in full glory. If we step back and choose the border option, D brush will poly group your poly painted lines as well? Zebras does so much with polygraphs. And this is your ticket to generate and clean hard edge meshes and controlling their edges. In the next clip, we will conclude the course. 29. Conclusion: Conclusion. Congratulations on completing the course. I do hope you found this information useful, continued to explore, experiment, and combine features that fit your needs. Be sure to follow me on YouTube and social media to keep up with future courses and additional content until next time. Happy sculpting.