Chinese Dragon #4: ZBrush Setup, Layers

I was going to discuss ZBrush sculpting in this post, but I realised there might be some value in covering a little more about set up and preparing for export.

So I’d exported my base mesh as an obj. file from Lightwave and followed the steps in Steve Warner’s guide here pretty closely, as ZBrush doesn’t follow any of the standard windows conventions for just about any operation!

For the uninitiated, it can be a pretty daunting interface.

Saying that, once you go through the process a couple of times it becomes second nature, and you quickly get into sculpting which is quite intuitive.

ZBrush does all of its work by subdividing the bejingers out of your mesh, so the more detail you want, the more polygons you need to let it use. It has a pretty impressive capacity to deal with millions of polys, and it sets a limit based on your system’s capabilities which is really helpful.(going beyond it results in instability)

Thanks to Bump and Normal mapping when you export your work for rendering the detail can be managed more easily. I’m a big fan of Normal mapping, which gives a serious illusion of depth without needing any additional polygons. I haven’t looked into it too much but the only drawback is the maps aren’t exactly editable, using multiple colours to express depth:

ZBrush allows you to sculpt in non-destructive layers. Just like Photoshop you can turn layers on and off, or use them to try things out without messing stuff up.

The other thing that is nice about this is that you can turn them on and off to export different maps in different ways. So if you plan a little you can make things easier when you return to your output software.

And finally, because the rest of the post has been dry and technical here’s a pretty picture!

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