I used simple colors to show the UV mapping as I usually go into Substance Painter for final texturing. B.) Chest piece after pulling out polygroups with Move Brush. This allows us to grab each poly group individually with the Move brush instead of affecting the entire mesh.Ī.) Chest piece after Slice and Masking tool.
Grab the Move tool and go into the Brush menu to Auto Masking turn up Mask by Polygroup to 100 percent. You now have multi-sided geometry that can be manipulated with the Move and Move Maskings tools. You can experiment with the setting (Loops and GPolish) to see the differing results. In the Geometry menu under GroupsLoops turn off Triangle and press the GroupLoops button. Go to Geometry->Modify Topology->Del Hidden to delete the hidden mesh as we only need the armor now. This leaves only the armor cut-outs visible. Hide all the non-armor pieces of the character that we did not use. C.) Smoothing out jaggies with Smooth Groups brush. This little jewel will shape those jaggies into a nice line.Ī.)Drawing out straps with Mask brush. Go into the Lightbox->Brushes->Smooth and get the SmoothGroups brush. This creates a separate group for the straps like slicing did only we could use symmetry to draw consistent straps. 
For the leather straps that hold the chest armor, we will use another method that involves simply painting them on with the mask brush then going into Polygroups and pressing the Group Masked Clear Mask button. After cutting the armor pieces you can now paint each piece separately to continue on to using Loops (coming up) to create a bit more detail in the armor edges and form. Single press A to create a gentle curve or Double press A to create a sharp angle.Īfter using the Slice tool to draw the curved lines across sideways mesh for even sculpting. Just draw the slice tools across the screen on the mesh where you desire the cut to be. With Polyframe turned on you will notice the mesh turn different colors as you cut. Turning the character sideways also makes it easier to slice the mesh across the screen and get symmetrical results. Using the SLICE CURVE tool turn the character sideways… exactly 90 degrees to accommodate the cut as slicing does not offer symmetry. Native Character Creator 3 Mesh and after Remeshing. ZRemesh the duplicated character at Double poly pressing ALT-REMESH to continue. 
Duplicate the character mesh and turn off the visibility of the original mesh (tool). Click on the tab called ‘Answer’ to see which ones I actually used. In the following image (below), I have highlighted a few areas with colours… have a look at the render and see if you can guess what processes or tools I used to create the various parts. So I created a few images (like the helmet image on the right) to illustrate the benefits of the ZBrush technique I’m about to show you. 
One of my favorite hard surface modeling styles involves a mix of paneling and organic shapes. For instance, if you are planning to bake maps and keep the polygon count low, a retopology approach with edge creasing might be better, you could also use Dynamesh with masking and polish brushes to create a quick concept, etc. However, there are other ZBrush Processes and tools that could be more effective to achieve a certain ‘Hard surface’ look. There are a number of ways in which you can use this new feature, but surely one of its strengths is hard surface modeling.
There is no doubt that the new Live Booleans system in ZBrush 4R8 is a game changer. The render projects come with the ZBrush FORM materials pack that you can use to present your WIPs and renders. Render projects for BPR to present your models – This a link to the resources I mentioned in the ‘examples’ section of this guide. In the process, I’ll share some theory and workflows to approach the modeling in ZBrush using the Live Booleans (from ZBrush 4R7 onwards).
#ZBRUSH CUSTOM BRUSHES WITH UNDERCUT SERIES#
Intro to the Boolean system (to add more details)– This is a video tutorial series where I walk you through the process of creating a Sci-fi sitch from scratch. The head is split into various parts so it makes it easy to move certain parts to set up the main shapes. Generic Modular Head to create base meshes– This resource is a generic modular head that helps you to block out different heads. I use a bunch of custom hotkeys in this series to speed up the process: ‘Ctrl+Q’ to convert geometry to Qcube or ‘Ctrl+X’ to delete hidden geometry. Assigning custom hotkeys and UI management– This quick guide will help you to set up your custom ZBrush UI and shortcuts.
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