آموزش زیبراش pdf مجله ZBrush Digital Sculpting Sculpting with brushes

آموزش زیبراش pdf

بنابراین مجسمه های مجسمه سازی مجسمه سازی و درجه بندی بر روی کامپیوتر این است که ZBrush چیست تماما در مورد. پس چگونه در مورد ایجاد یک مجسمه دیجیتال چطور؟ اصلی شما ابزارهای مجسمه سازی این خاک رس مجازی برسهای مجسمه است. اینها هستند اینجا در قفسه چپ در کتابخانه مجسمه سازی براش یافت می شود. بنابراین مدل greenMan_V01 من روی بوم بارگذاری شده است، و این مدل است در دسترس کاربران حق بیمه. شما همچنین می توانید با برخی از مدل ها آزمایش کنید که با ZBrush می آیند من مدل را در حالت ویرایش دارم و وقتی حالت ویرایش است فعال می شود، سپس می توانم برس های مجسمه سازی من را دریافت کنم. اگر این دکمه را به رنگ خاکستری مشاهده می کنید، دلیل این است که شما در حالت ویرایش نیستید. بنابراین شما فقط باید به یاد داشته باشید که آن را روشن کنید، و در حال حاضر من تمام برس ها در دسترس من است بنابراین این جعبه ابزار من است، و این همه قلمهای است که من قصد استفاده از آنها را دارم. هر یک قلم مو شخصیت خود را دارد، و شما می خواهید در زمانی که شما در ZBrush کار می کنید پیدا کنید بعضی از آنها مورد علاقه شما هستند و بعضی از آنها ممکن است هرگز نباشد در واقع استفاده کنید، اما این به طور کامل به شما است که شما کار می کنید و همانطور که شما خود را توسعه می دهد سبک هنری شخصی خود را دارد من قصد دارم به شما برخی از آنهایی را نشان دهم که مطمئن هستم شما از بسیاری از آنها استفاده می کنید هنگامی که شما برای اولین بار شروع می کنید. البته استاندارد قلم مو، به درستی نامگذاری شده است قلم مو بیشتر مورد استفاده قرار می گیرد. بنابراین من این را در حالت ویرایش دارم من استاندارد دارم برس انتخاب شده است. من قصد دارم حجم Draw را کمی حرکت دهم و من فقط هستم رفتن به شروع مجدد مدل با نقاشی به طور مستقیم بر روی آن. من فقط کشیدن روی، و من می توانم ببینم که من در حال تغییر در سه پارامتر مدل هستم.

00:01:28  I don't know if they are changes for  the better, but you can see how the brush

00:01:34  actually works. The strokes are  additive, so the more I draw in one more

00:01:39  particular area, the more it puffs out.

00:01:42  The Standard Brush pushes out the  geometry of the model and it sort of averages

00:01:47  the direction of that push. So you get  sort of a nice, very easy to work with,

00:01:55  stroke out of it.

00:01:56  If I want to carve into the model as  opposed to push out, I could turn on ZSub,

00:02:02  and this carves into the model.

00:02:04  If I have ZAdd activated, by default  this is going to push out, but if I want

00:02:12  to carve in, instead of constantly  going up to here and pressing the ZSub

00:02:16  button, I could just hold the Alt key  and then paint on the model, and then it pushes out.

00:02:23  Another sculpting brush that you will  use a lot is the Move Brush. The Move

00:02:28  Brush is kind of like a giant magnet,  and you can use it to push parts of the model around.

00:02:33  I'm going to increase the Draw Size. I  have the Move Brush selected, and I'm

00:02:39  just going to start dragging on the  model. You can see, I can make changes to

00:02:43  the model very quickly. I can change  his personality quite a bit actually.

00:02:48  A really great way to develop  characters is to switch to the Profile mode, use

00:02:53  the Move Brush, and then just start  making changes. It's almost impossible not

00:02:57  to have a storyline start appear in  your head as you make changes to the model.

00:03:04  If I have the Move tool enabled and I  drag in the model while holding the Alt

00:03:08  key, it sorts of bumps out  perpendicular to the surface of the model, otherwise

00:03:18  it just follows the brush wherever I go.

00:03:24  The Inflate Brush is one of my  favorites. Like the name implies, it's similar

00:03:29  to the Standard Brush but it actually  bulges out sort of evenly around the stroke.

00:03:35  So if I wanted to fatten something up,  like his lower lip here, the Inflate

00:03:41  Brush is a really great way to do that,  and of course if I hold the Alt key,

00:03:45  it inflates inward.

00:03:53  The Pinch Brush is a great way to  create sharper lines on the model. It pinches

00:04:00  them in. So if I wanted to refine the  detail on some of these swirls here, I

00:04:05  can lower the size. I'm going to turn  your Local button on. If I scale in, I

00:04:12  zoom in right to that part of the model.  You can see, I can quickly refine the

00:04:18  edge, get rid of some of that softness,  that's sort of very typical in a ZBrush

00:04:22  model, and it starts to look more like  it has been curved into stone or into wood.

00:04:26  I'm going to press the F key to  quickly zoom out. I think those four brushes

00:04:31  are the ones that you use most often.  Once again, that's the Standard Brush,

00:04:35  the Inflate Brush, the Move  Brush, and the Pinch Brush.

00:04:42  One other brush that is extremely  useful is the Smooth Brush. If I click on it

00:04:50  here, so I have it selected, and I'm  going to raise the size of the brush. Now

00:04:55  when I start to paint on the model it's  like its melting away the details, its

00:04:59  averaging the position of the vertices  on the model, but all you really need to

00:05:03  worry about is the fact that it's just  smoothing out, it's eliminating detail

00:05:07  on the model.

00:05:09  By default, the Smooth Brush is always  at Z Intensity 100, but I find when I

00:05:14  worked that that's a bit too strong.  You want to make a lot of small changes

00:05:19  when you get to the point of detailing,  rather than using everything at full intensity.

00:05:25  So if I just lower the intensity on  this, I get much less smoothing, and so I

00:05:30  can sort of sit here and just gradually  paint the smoothing into the model. It

00:05:34  might be a little bit harder to see,  it's easy to see there. If you have this

00:05:38  at full Intensity, a lot of times you  will go to smooth something in, you will

00:05:42  lose it entirely, that  might not be your intention.

00:05:47  If I have the Standard Brush enabled  and I'm painting on the model, if I hold

00:05:52  the Shift key, I activate the  Secondary Brush, which is by default the

00:05:56  Smoothing Brush. This is a  very convenient way to work.

00:06:01  So if I'm making changes to the model,  and then I want to smooth that out a

00:06:08  little bit, I just hold the Shift key.  So I draw, I make my change, hold the

00:06:13  Shift key, and then smooth out that  change. That is an extremely common

00:06:18  workflow. Make some kind of  change in here and then smooth it out.

00:06:23  If you have ever worked in actual clay,  a lot of times you will use water to

00:06:34  sort of smooth out the details, and the  Smoothing Brush can be kind of be like

00:06:37  applying water to the sculpture.

00:06:39  If I lower the Subdivision Levels; I  want to lower this all the way down to 2,

00:06:43  and I smooth out some of these  changes. It looks like its erasing them

00:06:49  entirely, but its not quite doing that.

00:06:52  If I move back up again you will see  that those details are still there but

00:06:57  it's almost like I put water on them to  smooth them out a little bit more. This

00:07:01  is sort of another common way to  work with details on a sculpture.

00:07:04  I would like to show you a couple of  other brushes, but if you ever want to

00:07:08  find out what a particular brush does,  if you have it loaded, just hit the Ctrl

00:07:12  key and you will get a brief  description of the brush. Some of the really fun

00:07:17  ones are the Snake Hook Brush. This  allows you to pull out tendrils in 3D.

00:07:22  It works better with a very dense  model. As you will notice, it's exactly

00:07:32  sharing the geometry at some points. So  if you want to use this brush a lot you

00:07:37  want to sort of develop a way to use  it with care, and make sure that you are

00:07:41  using it on a high level model. It's  obviously an awful lot of fun to play with.

00:07:48  You can come up with really disfigured  characters rather quickly. Certainly the

00:07:52  Medusa comes to mind.

00:07:53  I'm going to undo some of those changes,  so we can get back to more reasonable

00:07:57  looking sculpture.

00:07:59  The Clay Brush, what's nice about  this brush is it actually fills in lower

00:08:04  areas, it fills the cavities in the  models first before making changes to the

00:08:09  higher levels of the model. I mean,  it actually feels like you are applying

00:08:14  clay to the model. If you can imagine  yourself pulling off stripes of clay in

00:08:18  your hand and then putting it on the  model and smoothing it with your finger,

00:08:22  that's what the Clay Brush really feels like.

00:08:24  So you can see it fills in those gaps,  and is a great way to level off some of

00:08:27  those details, or just to fill it in.  A very, very useful brush. It's so

00:08:33  intuitive, it's easy to forget that  it's actually digital. It really feels like

00:08:36  actual clay.

00:08:37  There is a number of brushes that  behave in this way. Also, ClayTubes is kind

00:08:42  of a variation on this brush, it feels  more like putting tubes of clay on the model.

00:08:46  The Flatten Brush has recently become  one of my favorite brushes, especially in

00:08:51  this particular model. Well, I have  destroyed a lot of these details, but you

00:08:55  can see some of it right here,  where I'm trying to achieve the look of

00:08:59  something that's carved into stone or  into wood, and the Flatten Brush helps me

00:09:03  to do that, it helps like the Pinch  Brush, it can give a sharper edge.

00:09:08  If I use it in conjunction with the  Smooth Brush, it starts looking more like

00:09:14  -- it gives less of that puffy look  and more of something that's been carved.

00:09:19  Another one that is like that is the  Layer Brush. This brings everything up to

00:09:24  a certain layer. It kind of averages  it. If I use that in conjunction with

00:09:30  Smooth and also Flatten; I mean, I'm  just demonstrating these brushes now, but

00:09:35  a lot of these parts of the model  started out as the layer, in sort of a spiral

00:09:39  fashion, and then I have edited  them using the Flatten, Smooth, and the

00:09:43  Standard Brushes, and it's just a lot  of back and forth and working like that,

00:09:49  but it's a wonderful brush to use.

00:09:52  Most of these brushes are sort of  variations on a theme. The last one that I

00:09:55  would like to show you is the Rake Brush.  If you have actually sculpted in the

00:10:00  real world with clay the Rake Brush  is going to feel very much like working

00:10:04  with actual clay.

00:10:05  I'm going to hold the Alt key and I'm  just going to start to drag in here. Real

00:10:10  sculptors, when they are roughing out  the primary forms of a sculpture, they

00:10:13  will pick a rake and they will drag  it across the clay like this, and its a

00:10:17  great way to define the planes of  the face, or parts of the model.

00:10:24  The Rake Brush works best on high  density models; models that have a lot of

00:10:29  polygons. You can see, I can carve eye  sockets in here really quickly. I can

00:10:34  remove the Alt button and go back in  Add mode and then add clay back on top of

00:10:39  that. It's a fantastic way to just ruff  out a model. Like I said, if you are a

00:10:44  real world clay sculptor this is going  to make you feel like you are actually

00:10:48  working with clay.

00:10:51  I can quickly put in the zygomatic  right there, and dig into the cheeks here.

00:10:57  Then once I'm done with that I can  start to smooth; I'm just holding the Shift

00:11:00  key as I paint across here. Smooth out  those changes and just build it up like  levels of real clay.

00:11:07  The best way to learn how to use the  Sculpting Brushes happily is to just start

00:11:13  playing with them, just a get a model  onto the canvas and experiment, start

00:11:19  playing with each brush and  see how it behaves differently.