ZBrush4 R4 Whats New

1ZBrush 4R4 whats new guide

ZBRUSH 4 R4

WHATS NEW DOCUMENTATION

ZBRUSH


WELCOME

Welcome to the Whats New documentation for ZBrush 4R4. While much of ZBrush 4R4 is very similar to other releases in the version 4 series, there are quite a few new features to help make your ZBrushing even more productive and creative. We hope that the information you find here helps you understand the differences between this release and previous versions of ZBrush.

This document only covers whats new in version 4R4. To learn more about the fea-tures introduced in previous releases of ZBrush 4, we invite you to read the ZBrush 4 /4R2/4R2b/R3 Whats New Guides, located in your ZBrush installations Documentation folder.

Youre invited to visit our ZClassroom for a huge database of free high quality movies explaining all the main features of ZBrush. Here you will also find the Artists Spotlight, where famous 3D Artists explain how they use ZBrush, helping inspire you to create like the pros.

Dont forget to subscribe for free to our ZBrushCentral community with over 250,000 members to discover tips, view artists creations, locate useful help for all things related to ZBrush or post your works-in-progress!

We encourage you to regularly visit our ZBrush Blog where you will find all the news related to the ZBrush universe, from the most recent Interview to new plugins or gallery additions.

ZClassRoom Portal: http://www.pixologic.com/zclassroom/

Artist Spotlight: http://www.pixologic.com/zclassroom/artistspotlight/

ZBrushCentral: http://www.zbrushcentral.com/

ZBlog: http://www.pixologic.com/blog/

Pixologic.com: http://www.pixologic.com

The Pixologic Team

2013 Pixologic, Inc. All rights reserved, Pixologic and the Pixologic logo, ZBrush, and the ZBrush logo are registered trademarks of Pixologic, Inc. All other trademarks are the property of

their respective owners.


MAC OS X & WINDOWS VERSION OF ZBRUSH

Instead of the Windows Ctrl key, the Macintosh uses the Command (Apple) Key. This documentation will always refer to using the Ctrl key name, although it may sometimes list both as Ctrl/Command. When the Ctrl key is mentioned anywhere in the documenta-tion a Macintosh user will want to use the Command key instead.

The same is true for the Windows Enter key, which the Macintosh calls Return. When seeing the Enter key mentioned anywhere in this documentation, a Mac user will want to use the Return key instead.

The Close/Quit, Hide, Minimize and Maximize buttons are located on the top right in Windows and at the top left on Mac OS X.

ZBrush 4R4 Documentation - version 1.1

This documentation has been written by Thomas Roussel, Paul Gaboury and Matthew Yetter

For all documentation questions and inquiries, please contact us at [email protected]


I ABOUT ZBRUSH 4R4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91. Major new features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92. Various Other ZBrush Additions . . . . . . . . . . . . . . . . . . . . . 10

2.1 Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102.2 Tool and Geometry . . . . . . . . . . . . . . . . . . . . . . . . 102.3 FiberMesh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102.4 Render and Materials . . . . . . . . . . . . . . . . . . . . . . . 112.5 Import/Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112.6 Misc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

II IMPORTANT NOTICE - ZBRUSH FILES . . . . . . . . . . . . . . . . . . . . . .12

III INSTALLATION, UPGRADE & ACTIVATION . . . . . . . . . . . . . . . . .131. Minimum requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . 132. Activation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143. Deactivation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164. Activation Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . 175. GoZ and ZBrush 4 and ZBrush 4R2/R2b/R3/R4 . . . . . . . . 186. Un-installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187. Support Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

IV CURVE AND STROKE MODIFICATIONS . . . . . . . . . . . . . . . . . . . .201. Improving and Editing Existing Curves. . . . . . . . . . . . . . . . . 202. Operation on the Curves. . . . . . . . . . . . . . . . . . . . . . . . . . 21

2.1 Moving the Curve along the Surface. . . . . . . . . . . . . 212.2 Extending or Shrinking a Curves. . . . . . . . . . . . . . . . 212.3 Deleting a Curve . . . . . . . . . . . . . . . . . . . . . . . . . . 222.4 Adding to the Middle of a Curve . . . . . . . . . . . . . . . 222.5 Creating a Straight Line Curve . . . . . . . . . . . . . . . . . 23

3. New Curve Stroke Options . . . . . . . . . . . . . . . . . . . . . . . . 243.1 Smooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243.2 Frame Mesh. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253.3 Maximum Points. . . . . . . . . . . . . . . . . . . . . . . . . . . 253.4 Curve Snap Distance . . . . . . . . . . . . . . . . . . . . . . . 253.5 Curve Projection Range . . . . . . . . . . . . . . . . . . . . . 26

TABLE OF CONTENTS


3.6 Curve Smoothness . . . . . . . . . . . . . . . . . . . . . . . . . 263.7 Lock Start. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263.8 Lock End . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

V REPLACING PARTS OF A MODEL . . . . . . . . . . . . . . . . . . . . . . . . . . .271. Creating a Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . 282. Replacement and Topology Brush. . . . . . . . . . . . . . . . . . . . 313. Replacement Part Options . . . . . . . . . . . . . . . . . . . . . . . . . 32

VI TOPOLOGY BRUSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .331. Topology Brush Process. . . . . . . . . . . . . . . . . . . . . . . . . . . 342. Using the Curve Actions . . . . . . . . . . . . . . . . . . . . . . . . . . 353. Generating the New Mesh. . . . . . . . . . . . . . . . . . . . . . . . . 354. Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

VII BRUSHES ADDITIONS AND CHANGES . . . . . . . . . . . . . . . . . . . .371. Insert Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382. Insert Brushes Combined with Curve Strokes . . . . . . . . . . . . 393. Tri Parts Insert Brushes. . . . . . . . . . . . . . . . . . . . . . . . . . . . 404. InsertMultiMesh Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425. Creating InsertMesh and InsertMultiMesh Brushes . . . . . . . . 446. Insert Mesh new Options . . . . . . . . . . . . . . . . . . . . . . . . . . 46

6.1 MultiMesh Selector . . . . . . . . . . . . . . . . . . . . . . . . . 466.2 MultiMesh Spread Mode . . . . . . . . . . . . . . . . . . . . . 466.3 MultiMesh Variation . . . . . . . . . . . . . . . . . . . . . . . . 466.4 MultiMesh Variation Selector . . . . . . . . . . . . . . . . . . 476.5 Projection Strength . . . . . . . . . . . . . . . . . . . . . . . . . 47

7. Insert Brushes Combined with Curve Options . . . . . . . . . . . 487.1 Tri Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487.2 Weld. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487.3 Stretch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497.4 Overlap. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507.5 Curve Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . 507.6 Max imum Bend Angle . . . . . . . . . . . . . . . . . . . . . . 50

8. Curve Snap Surface Brush . . . . . . . . . . . . . . . . . . . . . . . . . 519. Brush Creation Credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5210. Other Additions and Changes . . . . . . . . . . . . . . . . . . . . . . 53


VIII DYNAMESH ADDITIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .541. DynaMesh Maximum Resolution. . . . . . . . . . . . . . . . . . . . . 542. Merging SubTools as DynaMesh . . . . . . . . . . . . . . . . . . . . 553. Convert Inserted Meshes from Positive to Negative. . . . . . . . 57

IX HISTORY - UNLIMITED UNDOS . . . . . . . . . . . . . . . . . . . . . . . . .581. Undo History Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . 592. History Functions and Commands . . . . . . . . . . . . . . . . . . . 61

2.1 Del UH (Delete Undo History) . . . . . . . . . . . . . . . . . 612.2 Undo Counter . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612.3 Restore Placement . . . . . . . . . . . . . . . . . . . . . . . . . 612.4 Store . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

3. Undo History for Movie Creation . . . . . . . . . . . . . . . . . . . . 624. Movie Creation Options . . . . . . . . . . . . . . . . . . . . . . . . . . 63

4.1 HFrames (History Frames) . . . . . . . . . . . . . . . . . . . . 634.2 HRecenter (History Recenter) . . . . . . . . . . . . . . . . . . 634.3 HOrientation (History Orientation) . . . . . . . . . . . . . . 634.4 HPosition (History Position) . . . . . . . . . . . . . . . . . . . 634.5 History Camera Path Smoothness. . . . . . . . . . . . . . . 64

5. Undo History Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . 655.1 Show Undo Selector . . . . . . . . . . . . . . . . . . . . . . . . 655.2 Show Time Stamp. . . . . . . . . . . . . . . . . . . . . . . . . . 655.3 Max Undo History. . . . . . . . . . . . . . . . . . . . . . . . . . 655.4 Warn When Deleting . . . . . . . . . . . . . . . . . . . . . . . 655.5 Enable Saving . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665.6 Skip Loading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

X TOOL AND GEOMETRY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .671. Crease All and Uncrease All . . . . . . . . . . . . . . . . . . . . . . . 672. SubTool Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673. Grow All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674. Mask Peaks And Valleys . . . . . . . . . . . . . . . . . . . . . . . . . . 685. Edge Loop Displacement Slider . . . . . . . . . . . . . . . . . . . . . 686. Merge Tris and Weld Points . . . . . . . . . . . . . . . . . . . . . . . . 687. Mesh Extract Thin Border and Corner Quad to Triangle . . . . 698. Split to Similar Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699. Split to Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69


XI POLYGROUP ADDITIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .701. Group Masked Clear Mask (Hotkey CTRL+W) . . . . . . . . . . 712. Group Visible New Options: Coverage and Cluster . . . . . . . 723. Group Masked New Option: Polish . . . . . . . . . . . . . . . . . . 734. Group as DynaMesh Sub . . . . . . . . . . . . . . . . . . . . . . . . . 74

XII TRANSPOSE ADDITIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .751. Transpose Axis Selectors . . . . . . . . . . . . . . . . . . . . . . . . . . 762. Transpose Orientation. . . . . . . . . . . . . . . . . . . . . . . . . . . . 763. Flatten a Surface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 774. Inflating a Surface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785. Inserting an Edge Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

XIII BACKGROUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .791. Tilting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 792. Rotate With Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793. Snapshoting models and images in the Background image . . 80

XIV GRID AND REFERENCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .811. Shadow on Grid with BPR Render . . . . . . . . . . . . . . . . . . . . 822. Grid Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823. Images References on Grid . . . . . . . . . . . . . . . . . . . . . . . . 834. Grid Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

4.1 Open and Save with LightBox . . . . . . . . . . . . . . . . . 844.2 Snap Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854.3 Fill Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854.4 Front . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 864.5 Snapshot to Grid . . . . . . . . . . . . . . . . . . . . . . . . . . 874.6 Snapshot Image Size. . . . . . . . . . . . . . . . . . . . . . . . 874.7 Snap to Mesh. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 884.8 Snap to All. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 884.9 Snap to Axis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 884.10 Snap to ShadowBox . . . . . . . . . . . . . . . . . . . . . . . . 884.11 Image Selectors . . . . . . . . . . . . . . . . . . . . . . . . . . . 894.12 One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 894.13 PLine (Projection Lines from Cursors to Axis) . . . . . . . 894.14 Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 904.15 Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90


4.16 Rotate, Flip and Inverse. . . . . . . . . . . . . . . . . . . . . . 904.17 Scale, Angle, Vertical and Horizontal Offset . . . . . . . 914.18 Edge (E) Enhancement and Opacity . . . . . . . . . . . . . 914.19 Front Dot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 914.20 Back Dot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 914.21 Grid in BPR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 924.22 Opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 924.23 Axis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 924.24 Grid Color and Floor Color. . . . . . . . . . . . . . . . . . . 924.25 RGB Frame and RGB Fill. . . . . . . . . . . . . . . . . . . . . 924.26 Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 924.27 Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

XV OTHER CHANGES AND ADDITIONS . . . . . . . . . . . . . . . . . . . . . . .93

XVI THANK YOU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

XVII NOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96


I ABOUT ZBRUSH 4R4

This new release of ZBrush continues expanding on creative freedom with a focus on model topology and detail creation. It includes major features which are designed to free the artist in you.

Before we go into these ZBrush 4R4 new features in depth, here is an overview of what to expect:

1. Major new features

Topology Brush: Works on the fly to control topology. It can be used for props, accessories or doing a 100% controlled retopology of your models.

Replacement Part Function: Replaces a group of your models polygons with another, fully detailed mesh.

Full Process History: You can now undo up to 16,000 times. This feature also gives the ability to replay the entire construction of your model as a movie.

Improved Curves Functions: Insert replicated items composed of multiple ele-ments such as a chain with hooks on both ends.

New MultiMeshInsert Brush: Can contain several meshes ready to be inserted individually or randomly.

Insert Brush Creation: With a single click, create Insert brushes from your cur-rent Tool. Or create MultiMesh Insert brushes from your SubTools.

DynaMesh Booleans: When merging multiple SubTools you can now use Dy-naMesh to add, subtract or intersect them.

Improved Transpose: The new action line displays X, Y and Z axis as well as having integrated Inflate and Flatten functions.

Floor Grid with Reference Images: Load images onto the working plane grids to help create a model based on blueprints or other references.

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ZBrush 4R4 whats new guide

2. Various other ZBrush additions

2.1 Brushes

New preset brushes provide examples of how to take advantage of ZBrush 4R4s key features: Curve Strap, Curve Track, Insert types and more.

Create Insert and Multi Mesh Insert brushes with a single click. Insert Brushes now use the brush Imbed setting to define the depth of the inser-

tion. Insert Brushes now use the Z Intensity setting to apply a squash factor along the

insertion normal. Projection Strength function conforms the inserted mesh to the underlying sur-

face. Be recognized for your contributions! You can now provide your name and web-

site info to a brush before exporting and sharing it with the community.

2.2 tool and GeoMetry

Maximum DynaMesh resolution has been increased to 2048. Mask Peaks and Valleys function detects portions of the mesh with the greatest

detail density. This function is used internally by QRemesher but is also available for general use via the AutoMasking options.

Quickly create a PolyGroup from a mask. This is especially useful with the new topology replacement features.

New Cluster option for the Group Visible function controls the way its randomiza-tion will act.

Grow All visibility function makes all the current meshs polygons visible. Mesh to Brush function converts the mesh of an Insert Mesh brush to a new Tool. New topology cleaning tools: Merge Triangles and Weld Points. Mesh Extract gains two new controls: Corner Quad to Triangle and Thin Border.

2.3 fiBerMesh

Merging different SubTools which are FiberMesh aware preserves the designa-tion if they have the same number of vertices per fiber.

The Group Visible function is now FiberMesh aware and uses the Coverage value

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to regroup the fibers.

The Split Hidden and Group Split functions are now fiber aware. The Inflate deformer now has a reduced effect when used on a FiberMesh.

2.4 render and Materials

New Vibrant Shadows and AO setting generates more strongly color-saturated shadows.

The Background image can now be tilted. The Background image may now be synchronized with your models rotation.

2.5 iMport/export

Vector Displacement map export quality has been improved. UV Offset has been added in the Preferences palettes Export options for use with

Vector Displacement. .EXR File format has been added for Vector Displacement maps. GoZ now supports Maya 2013 and Luxology modo 601. (Note: modo 601 on OSX

requires a manual update when importing a model.)

2.6 Misc

XPose now display the SubTools as a contact sheet. Improved notification when saving large projects. (2Gb to 4Gb) New SubTool commands Delete All and Delete Other help to quickly clean your

projects. Improved overall Projection speed. ZBrush preferences settings are now stored in a Public folder for improved per-

missions compatibility with Windows and Mac. The location of the ZBrush virtual memory/cache files can now be changed, pro-

viding performance improvements on systems where the system drive is not the com-puters fastest drive or is running low on disk space.

New ZScript commands have been added, mainly to manage the SubTools.

We look forward to seeing your ZBrush 4R4 creations and comments on our users forum: ZBrushCentral.com!

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II IMPORTANT NOTICE - ZBRUSH FILES

ZBrush now manages all temporary and configuration files in a dedicated public fold-er. On Windows, this is the C:\Users\Public\Documents\ZBrushData folder. For Mac OS X it is the Users/Public/ZBrushData folder.

The files stored in this folder include your custom interface hotkey configuration. This simplifies reinstallation or upgrading ZBrush, since it will not be necessary to first move or backup these files.

Another purpose of this change is to reduce issues with file permissions which can affect some installations.

The path of the public ZBrush folder cant be changed.

Another enhancement in ZBrush 4R4 is that it is now possible to change the location where ZBrush will write temporary files when compacting memory. When working with ZBrush, it is often necessary for the operating system to manage very large amounts of data with frequent read and write access. (Approximately 4-8 GB of data.) If your system drive isnt the fastest on your computer, you can set ZBrush to use a different drive instead. This is done by editing the ZBrushScratchDiskPath.txt file located in the C:\Users\Public\Documents\ZBrushData folder on Windows or Users/Public/ZBrushData folder on Mac OS X.

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III INSTALLATION, UPGRADE & ACTIVATION

This is the useful information that you will need to know when installing ZBrush 4R4 on your computer. This chapter also describes the activation and de-activation process.

1. MiniMuM requireMentsRecommended: Operating System: Windows Vista or newer. Mac OS X 10.5 or newer. (32-bits or

64-bits for either platform.)

CPU: Pentium D or newer (or equivalent such as AMD Athlon 64 X2 or newer) with optional multithreading or hyperthreading capabilities.

6 GB recommended. (ZBrush 4 is a 32-bit application, but can use up to 4 GB of system RAM.)

Disk Space: 750 MB for ZBrush, plus 16 GB for the scratch disk.

Pen tablet: Wacom or Wacom compatible.

Notes:The scratch disk may be a different drive from where ZBrush is installed.

Having ZBrush and its scratch disk running on an SSD drive will result in improved perfor-mance.

Minimum System Requirements:

Operating System: Windows Vista or newer. Mac OS X 10.5 or newer. (32-bits or 64-bits for either platform.)

CPU: P4 or AMD Opteron or Athlon64 Processor. (Must have SSE2 -- Streaming SIMD Extensions 2. All CPUs from 2006 or later support SSE2.)

RAM: 1024 MB (2048 MB required for working with multi-million-poly models).

Disk Space: 750 MB for ZBrush, plus 8 GB for the scratch disk.

Monitor: 1280x1024 monitor resolution set to 32-bits or Millions of Colors.

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2. actiVationFor new installations of ZBrush 4R4 (not an upgrade) this step must be completed in

order to launch ZBrush successfully.

The single-user ZBrush license allows you to have ZBrush activated on two of your computers, provided that both copies are not actually used at the same time. For ex-ample it may be activated on a workstation and a laptop. Please keep in mind that only one copy of ZBrush should be run at any given time.

Volume licenses allow only the number of activations for which seats have been purchased.

Floating licenses do not use activation and can ignore this section.

ZBrush activation window.

Launch ZBrush.

From the splash screen, select your desired activation method.

If your computer is connected to the internet (or can be temporarily connected), use Web Activation. This activation method is faster and more accurate. After ZBrush has displayed the End User License Agreement window, your web browser will be opened to a page that requests your serial number, the email address associated with your account, and a description that you can use to identify this computer should you ever need to see a list of your activations. Upon submitting this form you will be given

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an activation code. Click the button to select the code, then press Ctrl+C (Windows) or Cmd+C (Mac) to copy it. Switch back to ZBrush and click the button to Enter Activation Code. A new window will open with a red text line. Click in that line and press Ctrl+V (Windows) or Cmd+V (Mac) to paste the activation code. Now press Enter/Return to complete activation.

The Web activation form

Or If your computer cannot be connected to the internet, use Phone Activation.

PLEASE NOTE THAT DURING THE WEEK FOLLOWING THE RELEASE OF VER-SION 4R4, HIGH CALL VOLUME MAY MAKE IT VERY DIFFICULT TO REACH SUP-PORT FOR PHONE ACTIVATION. After ZBrush has displayed the End User License Agreement window, a new screen will open with your request code and a phone num-ber to call. Please have your serial number ready before calling! When you call you will be asked for your serial number, request code, email address and desired computer description. An activation code will be created and sent to the email address on record for your account. If you cannot conveniently check your email, the phone representa-tive will be able to read the 32-letter activation code to you. To enter your activation code into ZBrush, click the option to Enter Activation Code. Click in the red text line within the window that will open, type your activation code and press Enter/Return to complete your activation.

Instead of calling, you may follow the steps above but write down the request code that ZBrush gives you. You may then shut down ZBrush. From any computer that has internet access you can submit a Support ticket at https://support.pixologic.com. In your ticket, provide the following information: The request code from ZBrush, your serial number, your email address, and your desired computer description. You should receive a response to your Support ticket within one business day (often within one or two hours) containing your activation code. At that point, launch ZBrush and choose the option to Enter Activation Code. (Note: Do not start a new Phone Activation.) Click in the red text line within the window that will open, type your activation code and press Enter/Return to complete your activation.

Once activated, ZBrush will start immediately.

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3. deactiVationIf you plan to move ZBrush to a new computer or if you are going to reinstall your

operating system, you can make everything easier by first deactivating your current in-stallation of the software.

To do this, launch ZBrush and go to the Zplugin >> Deactivation menu. There are two options: Web Deactivation and Manual Deactivation.

The Deactivation plugin in the ZPlugin menu.

Deactivation process:

If your computer has internet connection, use Web Deactivation. This will launch your browser to a page that asks for the email address associated with your ac-count. Submit that form and then click the confirmation button to instantly complete your deactivation of ZBrush.

or

If your computer cannot be connected to the internet, you will need to use Manual Deactivation. In this case you will be given a deactivation code. You may either call the number on the screen to deactivate by phone (only available during normal business hours of 9:00 am to 5:00 pm Pacific Time, Monday through Friday) or you may submit a Support ticket at https://support.pixologic.com. Please note that by either method you will also be required to provide the email address that is associated with the account.

Note: Once deactivation has been started, it is not possible to stop it. The moment you confirm

your desired deactivation method, ZBrush will shut itself down and will not be able to be restarted without a new activation. However, the deactivation will not be credited back to your serial number until you have submitted the Web Deactivation form or contacted Support with your manual deac-tivation code.

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4. actiVation trouBleshootinGActivation Failed after entering activation code:

Make sure you are not trying to use your serial number as an activation code. Serial numbers are 16 characters in length, with both letters and numbers. Activation codes are longer and have all letters. You will never enter your serial number directly into ZBrush. It is always used via Web or Phone activation to create an activation code.

Make sure you are not trying to use an outdated activation code. Any time you install ZBrush you must begin with a new Web or Phone activation to create a new activation code. Codes from previous activations cannot be reused.

Make sure that your system clock is set to the correct date, including year. If the date is wrong, activation will fail. After correcting the date you will need to start the activation process over from the beginning.

Make sure that you are logged into the computer as an administrator when install-ing and activating ZBrush. After it has been activated it may be run by any user on that computer, but the initial installation and activation must be done under an admin account.

(Mac Users) If you launch ZBrush and immediately receive an error message (such as a virtual memory error) that must be resolved before activation can be done successfully. This error is typically caused by permissions. For most environments, simply get info on the ZBrush OSX 4R3 folder. Unlock permissions and then assign Read & Write permission to the Everyone user group. Next, click the gear icon un-derneath the users list and choose the option to Apply to Enclosed Items. When the process completes you should be able to launch ZBrush without an error message and may then proceed to activation.

If the above troubleshooting items do not resolve your issue, please contact Pixolog-ic Support for assistance. Make sure to state from the beginning that you have already tried activation and it failed. Phone activation uses the same system as Web activation, so if Web activation failed you will have the same problem with Phone. We need to re-solve the issue rather than just trying under a different method.

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5. GoZ and ZBrush 4 and ZBrush 4r2/r2B/r3/r4ZBrush 4 and ZBrush 4R2/R2b/R3/R4 can be used together with GoZ as main com-

ponents are remaining the same, but its not possible to work on the same project be-tween multiple versions of ZBrush at the same time. Once a file has been created or saved in a newer version of ZBrush, it may not be opened by any earlier version.

For example, if you have a file that youd been working on with ZBrush 4R3 and then save it using ZBrush 4R4, it will no longer be possible to open it in version 4R3.

GoZ cannot get around this restriction. It can be used to open files from earlier ver-sions of ZBrush but it cannot be used to send files to an earlier version. The only way to get a file into an earlier version of ZBrush than it was last saved in is through the OBJ format.

6. un-installationThis process completely removes ZBrush from your computer.

Un-installation process:

1. In the ZPlugin menu, choose Web Deactivation and proceed with the license de-activation as explained in a section above. If you do not deactivate prior to un-instal-lation, the un-installed machine will continue to count against your serial number and potentially prevent you from reactivating!

2. On Windows, use the Windows Control Panel uninstall utility and follow the steps. On Mac OS X, simply move the ZBrush folder and the Users/Public/Pixologic folder to the Trash.

3. Check the location where ZBrush was installed for extra files which havent been deleted by the installer. You can delete those folders if you do not intend to use ZBrush on this computer again.

Note:With the exception of GoZ, ZBrush doesnt write files outside its own folder.

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7. support reGistrationIt is required to have a current Support account at http://support.pixologic.com

in order to receive technical support for ZBrush. This account is free.

Activating an earlier version of ZBrush is not the same as having a registered Support account. The Support system is an independent platform. It does not use any existing log-ins that you might have for ZBrushCentral, Cleverbridge or any other ZBrush-related sites.

If you have not already registered on the Support site:

4. Go to https://support.pixologic.com.

5. Click the Register icon.

6. Enter your email address and whatever password you would like to use for the Support site. These will become your login info for the future.

7. Fill in your system information. We need this info in order to respond to your sup-port requests more efficiently.

8. Also provide your ZBrush 4x serial number and the Cleverbridge reference num-ber for your copy of ZBrush. This information identifies you as someone who has ac-tually purchased a ZBrush license. (If you have upgraded from an earlier version of ZBrush 4, your serial number will remain unchanged. All versions of ZBrush 4x use the same serial number.)

9. After you submit the form you will receive a confirmation email at the address you used to register. Follow the instructions in that email to complete your registration.

If you have already registered on the Support site:

You do not need to change any information.

At any time, you can go to https://support.pixologic.com to view your past tickets or create a new one.

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IV CURVE AND STROKE MODIFICATIONS

Curves and Stroke options have been improved and enhanced to support new pos-sibilities which benefit features like the InsertMesh and Topology brushes. In many ways, curves now operate quite differently from earlier versions of ZBrush, but taking the time to learn these changes will give you greater speed and flexibility than ever before.

1. iMproVinG and editinG existinG curVesZBrush 4R4 introduces new controls to create more accurate curves, as well as for

editing them after creating them. Most of these new possibilities can be found in the To-pology Brush which internally uses the same curves.

When editing an existing curve, surface detection will allow you to conform the curve to the surface you are drawing on. This feature remains active when editing a curve, al-lowing you to change the path while still holding to the underlying surface.

At the beginning and end of each curve you will see a green line indicator. These lines represent the normal direction (path) of the curve at those points.

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2. operation on the curVesListed below are the new operations that can be performed with curves. These func-

tions are common to all brushes that make use of curves.

2.1 MoVinG the curVe alonG the surface

By clicking on either end point of the curve and dragging, you will be able to pull the curve to where you want it. Curve segments will follow the original path as long as pos-sible in an effect that resembles a snakes movement.

When Stroke >> Snap is active, the curve will continue to be snapped to the underly-ing surface as you move the curve.

On the left, the original curve for an Insert mesh. In the other two examples, the curve has been moved with a different point of view. Notice how the mesh snaps to the surface.

2.2 extendinG or shrinkinG a curVes

If you wish to extend the length of the curve, hover near either the end or start point until a red line indicator appears. Now click and drag to continue drawing the curve, extending its length.

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On the left, the original curve for an Insert mesh. In the other two examples, the curve has been shortened or extended.

Note: This action is possible only as long as a curve is active. Once you start creating a new curve,

the new one will become active and you wont be able to edit the previous curve.

2.3 deletinG a curVe

You can delete a Curve by drawing a negative curve across the one you wish to re-move. Simply hold the ALT key while drawing a new curve. Upon ending the stroke, any intersected curves will be deleted.

This function will typically be used with the Topology brush to delete curves between intersection points.

2.4 addinG to the Middle of a curVe

If you wish to change the shape of a curve after creating it, simply draw a new curve on top of it. This new curve will become a part of the original one, with anything between the new curves start and end points being deleted from the old curve.

In this manner you can change the length and path of a curve without modifying its end points.

The example at left shows the original curve in grey and the new curve in red. On the right is the result of the addition of both curves.

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2.5 creatinG a straiGht line curVe

When creating a curve, press the Shift key to create a straight line curve.

If you move your cursor off of your mesh while holding the Shift Key, ZBrush will make the curve wrap around your model. The beginning and end points will be connected and treated as a single point.

This allows you to instantly create belts and bracelets, for example.

On the left is the beginning curve. In the middle, the Shift key has been pressed to create a straight line which goes around the mesh. On the right, the resulting insert brush along the curve.

(The mask has been inversed for visualization purposes.)

Note:You must press the Shift key after starting to draw your curve. Otherwise, the brush will switch

to Smooth, replacing the Curve brush.

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3. new curVe stroke optionsThese options affect the creation and editing of curves.

The Stroke palettes Curve options

3.1 sMooth

Located the Stroke palette (Hotkey 6), this option relaxes the curve shape and cre-ate a cleaner line. You can repeat the action several times to further enhance the effect.

The top example shows the original curve. The two examples below show the same curve with several smoothing operations. (Hotkey 6)

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3.2 fraMe Mesh

Located in the Stroke palette, this option works with the Topology brush to create a curve corresponding to the opening boundaries of the current mesh.

This function can be useful when using the Topology brush to manually retopologize a part of your model, starting from a boundary.

An example Frame mesh. Each vertex has a green circle, ready to receive a stroke from the Topology brush.

3.3 MaxiMuM points

Located in the Stroke palette, this slider defines the number of internal points that will be used to create the next curve you draw. You can also adjust this value before editing your curve, increasing or decreasing the number of points.

You may need to increase this value when creating a long curve with a large Draw Size value.

3.4 curVe snap distance

Located in the Stroke palette, this slider controls the radius at which your cursor will jump to the nearest curve point. Increasing this value will increase the detection distance, making the snap feature more sensitive.

This feature can be especially useful when using the Topology brush or when extend-ing a curve.

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3.5 curVe projection ranGe

The Curve Projection Range will control how much a curve will follow the underlying surface. A higher value will snap the curve closer to the surface detail.

3.6 curVe sMoothness

Located in the Stroke palette, this setting influences how aggressively ZBrush will relax your curve as you draw it. Depending on the situation, you may instead prefer to use the Smooth function (explained above) after drawing a curve.

3.7 lock start

When using an Insert brush with Curve Mode active, this will freeze the curves start-ing point in place, preventing it from being moved while you edit curve. Imagine laying a one foot length of string on a table and holding down one end while moving the other. The length of the curve/string will not change.

This feature is most useful when TriParts is active in the Brush >> Modifiers sub-palette.

3.8 lock end

When using an Insert brush with Curve Mode active, this will freeze the curves end-ing point in place, preventing it from being moved while you edit curve. Imagine laying a one foot length of string on a table and holding down one end while moving the other. The length of the curve/string will not change.

This feature is most useful when TriParts is active in the Brush >> Modifiers sub-palette.

Note:If both Lock Start and Lock End are active, manipulating and end point will override this setting

for that point. For example, if you click the end point to move it, ZBrush will assume that you actu-ally want to do so and will act as if only Lock Start is active.

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V REPLACING PARTS OF A MODEL

ZBrush is now able to literally fuse different models together, creating clean topology to connect them. This operation will only affect the polygons located at the connecting borders while the rest of the model will remain unchanged. The process can seem simi-lar to how DynaMesh can merge volumes, except that with this process your model will retain as much of its original topology as possible.

It is important to note that while this process may look like a boolean operation, it is not. It is simply a bridging operation and so it cannot be used to create differences or negative insertions. For those effects, you must use the Remesh All function.

This feature allows you to quickly and easily create an advanced base mesh with only a few clicks, simply by bridging various pre-existing mesh elements together.

Note:If there is a significant difference in polygon density between the support mesh and the re-

placement mesh, ZBrush may subdivide as necessary to ensure a clean polygon structure.

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1. creatinG a connectionThe process to create a connection is simple and is based on polygroups:

1. Create a PolyGroup on the support model, where you want to create the con-nection. The fastest way to do this is to hold CTRL and paint a mask on the area you wish to change into a new PolyGroup. Now click Tool >> Polygroups >> Group Masked Clear Mask or use its CTRL+W hotkey. ZBrush will convert the masked area into a new PolyGroup. (To display the PolyGroups, dont forget to turn on PolyFrame (Shift+F hotkey).

The two PolyGroups which will receive an inserted mesh.

2. Select an InsertMesh brush with the geometry that you wish to insert. Click on the new PolyGroup that you just created to add this new mesh to the model. It is really important to do the insertion by clicking on the PolyGroup of the support which will be used to create the connection because this is used to define the border of the polygon bridge. Please also remember that this new geometry must have an open surface; the replacement feature cannot work with volumes.CTRL+click+drag on any open area of the document.

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The meshes have been inserted on top of the new PolyGroups.

3. ZBrush will now connect the two meshes and weld the difference with quad ge-ometry.

The bridging connection between the inserted meshes and the PolyGroups border.

An alternative is to tap first on an existing PolyGroup and then doing a CTRL+click+drag on any open area of the document to create the bridge. This method allows you to do a replacement part when working with PolyGroups which have been created previously.

Note:If your Insert brush is composed of more than one part, you must create a PolyGroup which

will have the same number of parts. When inserting the mesh, you must click on the polygons of one part of this split PolyGroup.

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Instead of masking you can use ZBrushs mesh visibility controls. Hide everything except the polygons that will define the border of the bridge. Use InsertMesh on the visible polygons. Upon restoring full mesh visibility, ZBrush will weld the two surfaces together.

Notes:In addition to preparing the support mesh, it is advised to prepare your inserted mesh (the one

that will be added via the MeshInsert brush) by creating a PolyGroup to define its connection area.

The model must have open topology (unattached edges) at the bridge location. Otherwise you will get topology problems such as non-manifold surfaces. Do not use mesh replacement to insert a solid object!

As with the DynaMesh update operation, holding CTRL while clicking and dragging on a portion of the empty document is what tells ZBrush to calculate the new mesh and bridge between the PolyGroups.

If part of your model has been masked, you first need to clear the mask. In this case you can CTRL+Click+Drag twice (once to clear the mask and a second time to complete the mesh replacement) or by pressing CTRL+Shift+A before executing the remesh com-mand.

If you used hidden polygons instead of PolyGroups, the model will be restored to full visibility upon executing the remesh operation.

It is best to not be in DynaMesh mode when using the mesh replacement technique. If in DynaMesh mode, ZBrush will weld everything together but will not maintain the ge-ometry of the inserted mesh.

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2. replaceMent and topoloGy BrushThe replacement feature can also be combined with the Topology brush by creating

a new topology, then connecting it to the existing support mesh:

1. Make visible only the polygons which will be connected to the future new poly-gons.

2. On the top of these visible polygons, select the Topology brush and create new polygons as detailed in the Topology brush section of this document.

3. Click once on the support surface. ZBrush will replace the original PolyGroup or visible polygons, connecting them with those you just created using the Topology brush.

From left to right: The polygons which will be replaced. All other polygons hidden and a new sur-face created using the Topology brush. The final result after creation of the bridging polygons.

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3. replaceMent part optionsThe replacing parts operation utilizes a few ZBrush options to modify the results:

The inserted or replacement geometry does not need to be solely on the surface of the support mesh. ZBrush will close any gaps with clean quad geometry.

The Tool >> Geometry >> Smt (Smooth) option defines the method by which the connection will be done. If Smt is on (the default setting), ZBrush will create a smooth transition. When Smt is off, any sharp edges in the inserted/replacement topology will be retained. Keep this in mind depending on whether you are doing organic or hard surface sculpting.

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VI TOPOLOGY BRUSH

The Topology brush offers your two major possibilities:

Creating accessories with a surface thickness.

Creating new topology to replace a patch of existing topology.

Creating a surface for retopologizing your models.

On the left, the drawn curves with the polygons in preview mode. On the right, the new polygons with a predefined thickness, ready to be sculpted. Model courtesy of Mariano Steiner.

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1. topoloGy Brush processIt is important that the model doesnt have subdivision levels.

This new brush basically draws curves on the model and snaps them to the surface. Unlike with the other Curve brushes, curves created with the Topology brush cant be edited on the surface of the model. They can only be deleted, extended by starting at the end of an existing point, of closed by connecting both extremities with a new curve. They can also be deleted by holding Alt while drawing a new curve to intersect the one you wish to remove.

Note:It is possible to edit a curve created by the Topology brush by picking any other Curve brush,

making sure that Bend is on and completing your edits. Switch back to the Topology brush when done.

While adding curves, if ZBrush detects an intersection it will display a green circle to indicate this.

When any curve crosses over another, ZBrush will detect this intersection as a vertex. When there are three or four green dots connected ZBrush will display a triangle (red) or a quadrangle (orange) indicator. Once the triangle or quad has been completed you can simply click on the mesh to create the new topology.

A green circle indicates the connection between two curves. Notice that ZBrush detects triangles (at the top) and quadrangles. In the bottom example a polygon is missing because the intersecting

curves have only two connections and need one or two additional connecting curves.

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When doing this, the Draw Size will control the thickness of the generated geometry. A Draw Size of 1 will generate a mesh with no thickness. Anything higher than 1 will cre-ate a mesh with thickness and three PolyGroups (outer surface, edges, inner surface).

2. usinG the curVe actionsSome actions will help you with the retopology process:

At any time you may to clean up unused curves (or their unused extremities). Simply hold the Alt key while drawing a new curve over what you wish to remove. This operation will only work if the removal curve begins on the model surface. Otherwise you will rotate the model instead.

To delete a curve between existing points or portions of a curve, do this same Alt+drag to draw a small curve over the portion to delete. ZBrush will remove the segment. If more than 4 edges are detected between the curves, the corresponding polygons in preview mode will be deleted as well.

The Topology brush uses the Stroke >> Curves settings and default actions. This means that when drawing a curve, you can press the Shift key to draw a straight line. Also, Draw Size impacts the curve smoothness of your curve. The other settings also operate as explained under the Curves section of this document.

3. GeneratinG the new MeshWhile working, the polygons you see will be a preview. To finalize your new topology

as an actual 3D mesh, simply do a single click on the support mesh. This click must be on the support model itself; clicking on empty canvas will have no effect.

Thickness of the new model is set by changing the Brush Draw Size value before clicking on the support mesh. This is identical to the Tube style or Curve Fill brushes. If you set the Draw Size to 1, the created polygons wont have a thickness, which will be perfect for when retopologizing a model.

Note:After generating the new mesh, it is still possible to use the Undo History to go return to the

Retopology brush and further edit the curves.

In a manner similar to the Insert brushes, ZBrush will create a Mask on the support mesh while keeping the new topologized mesh unmasked. This allows you to easily manipulate your new models polygons. If you dont wish to have ZBrush auto-mask the

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support mesh, simply disable the Auto Mask Mesh Insert option, located in the Brush >> Auto masking sub-palette.

As when doing an Extract operation, the new model will have separate PolyGroups for the inner, outer and edge surfaces. The edges of these groups are automatically creased.

4. tips

When creating low polygon models for accessories or props, you can use the Clip brushes combined with masks to align vertices quickly create straight lines.

The new model is a part of the support mesh and not a SubTool. If you wish to create a SubTool, you only have to hide it with the Tool >> Visibility >> Hide pt function, then go to the Tool >> SubTool menu and use the Split Hidden function.

Note:Because of the AutoMasking (see above), you only need to do the Hide pt then Split Hid-

den functions, making this a very quick operation.

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VII BRUSHES ADDITIONS AND CHANGES

The Insert brushes have a new variation in the form of MultiMeshInsert. This brush is able to draw from a catalog of pre-built objects. Rather than sculpting the same item multiple times, you can model it once and then reuse it in all your creations.

There have also been a number of additions and changes been made to the insertion system so that it can make use of Curve mode and a new Tri Parts system

A hard edge model sculpted by the Artist Ken Toney. This example includes many of the new brush additions, from the Topology brush to the new Insert type brushes.

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1. insert BrushesBecause of the DynaMesh process, the Insert brush has become a major player in

your ZBrush arsenal of features. Now that it also allows you to actually replace portions of a model, several new enhancements have been made.

In addition to inserting a mesh as a negative, holding ALT while inserting a model can also stretch it perpendicularly to the insertion. The mesh is inserted within the surface that it is being drawn upon.

Note:If after using the ALT modifier for drawing one object you continue to draw insertions of the

same item, these additional insertions will keep the same transformation.

Press the CTRL key while inserting the model to respect the original inserted mesh proportions (1:1 ratio).

Press the Shift key while inserting the model to constrain the insert mesh orienta-tion to the closest world axis plane of the model, based on your point of view.

Note:If you need to revert to the original size, just press the CTRL key while inserting the mesh.

The Z Intensity setting will control the height of the inserted mesh. Keeping Z Intensity at 100 will maintain original height orientation of the mesh. If Z Intensity is set below 100 then ZBrush will reduce the height of the inserted mesh based on this value.

A Projection Strength slider has been added in the Brush >> Modifiers sub-pal-ette. When using a high value, the inserted mesh will conform itself to the underlying surface. Using a low value will preserve the original shape

Note:If your inserted mesh gives unexpected results, check if the projection strength slider and

try modifying its value.

Note:Dont forget that pressing the Spacebar while inserting a mesh will let you move it across the

surface of your model to refine its position.

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2. insert Brushes coMBined with curVe strokesAny Insert brush (including the InsertMultiMesh brush) can be combined with Curve

Mode in the Stroke Palette. This gives you the ability to drop multiple instances of the mesh along the curve.

This feature gives you a variety of new possibilities when sculpting. For example, you can create real geometry such as a series of bolts or chain links along a model instead of using an alpha to sculpt them.

To create an Insert mesh brush that supports curves or modify one that already has this support, you need only to enable the Curve mode located in the Stroke palette. Once that has been done, creating a stroke will duplicate the mesh along the curve. It will do this in accordance with the Curve mode settings and of course, the Brush modifiers.

To define the distance between each inserted mesh, use the Stroke >> Curve Step slider. A value of 1 will touch each inserted mesh to its predecessor. Lower values will cause the inserted meshes to overlap while higher values will separate them from each other.

Tip:If you are happy with your curve, but it drew the wrong mesh you only need to swap

out the mesh in the Brush >> Modifier >> mesh Insert Preview. Now click once on the already active curve to replace the original mesh with the new selected mesh.

Keep in mind that InsertMultiMesh may also be a solution for you, depending on your needs.

Notes:If the (M)RGB mode is enable, the current PolyPainting value will colorized the inserted model

based on the RGB intensity slider, partially or totally overriding the RGB color.

If the Gradient mode is enabled, the RGBcolor will be progressively following the curve be-tween the start and end point.

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3. tri parts insert BrushesThe Insert-type brushes have been enhanced with a new ability to insert copies of

one mesh between two end cap meshes. For example, you can with a single stroke create a chain where its links are duplicated between two locks or stoppers.

The TriParts feature is based on three PolyGroups. The top PolyGroup will be the start of the curve, the middle PolyGroup will be duplicated along the length of the curve, and the last PolyGroup will be at the end of the curve.

The Stroke >> Curves mode value sets ZBrush to use the TriParts feature. Once the Curve mode has been enabled for your Insert brush, the related options in the Brush >> Modifiers sub-palette will become available

To create a Tri Parts brush:1. You first need a specific mesh, composed of three PolyGroups. As mentioned

above, these groups define the end caps and duplicated portions of the curve stroke. Remember: The view of the mesh relative to the camera plane will determine how the origin of the mesh will be drawn onto your model.

2. In the Brush palette, click the Create InsertMesh button. This creates a new Insert Mesh type of brush based on the current object. (Read the chapter 5 of this section for more information about creating Insert-type brushes)

3. Enable Curve mode in the Stoke palette and change the Curves settings as de-sired.

4. In the Brush >> Modifiers sub-palette, enable the Tri Parts mode. This instructs ZBrush to replicate the middle PolyGroup between the other two PolyGroups.

5. Depending on your needs, adjust the other options: Soft Curve, Curve resolution and Twist to Turn.

Advice for creating Tri Parts brushes: Create your object along the Y axis, oriented on the X/Y working plane.

Try to create each part (the end caps and the duplicated portion) with the same height. Failing to do so may not result in clean duplication along the curve.

Use the Tool >> Deformations >> Unify command to create a mesh which will be one ZBrush unit in size, with a centered pivot point.

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A model composed of three PolygGroups to create a Tri Parts insert brush. The light green PolyGroup will be replicated between the other two groups when drawn. Model by Geert Etcher

Melis.

The Draw Size value will define the size of the inserted items. As with the other curve brushes, enabling Bend allows the curve to be edited.

Note:When using the TriParts technique its crucial to make sure that the vertical height of all three

PolyGroups are relatively the same.

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4. insertMultiMesh BrushTo extend your creativity when using mesh insertion with both DynaMesh and/or the

model parts replacement feature, you can now use brushes which contain not only one, but a large panel of meshes, ready to be inserted. This makes it possible to create indi-vidual brushes with specific themes such as science fiction, mechanical, organic, flowers and more. You can then select the brush for your desired theme, followed by the specific mesh from within it to insert. You can also change between the brushs meshes without needing to select or load a new brush for each.

After selecting an InsertMultiMesh brush, simply press the M key to display a float-ing window which lists all the meshes which are available with this brush. Click on the shape of your choice. Your brush will now act as a traditional Mesh Insert one, using the selected shape.

To make shape selection easier, the MultiMesh Insert brushes use the ABC selection system found in the Brush floating palette and SubTool selection. While the floating win-dow is open, simply type the first letter to filter meshes starting with this letter, then type the next letter as displayed in remaining list.

Curve Mode can also be used in conjunction with the InsertMultiMesh brushes.

The IMM_SpaceShip brush, with the MultiMeshInsert selector window open.

Note: You can change the default M hotkey used to display the list of the MulltiMesh objects by as-

signing a new hotkey to the Brush >> Modifiers >> MeshInsert button preview.

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An example of a jacket using some of the new options: custom inserted mesh, tri part mode and more. On the top left, the Metal InsertMultiMesh brush created by the Artist Geert Etcher Melis.

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5. creatinG insertMesh and insertMultiMesh BrushesCombined with DynaMesh, insertion brushes become an incredibly powerful too in

your ZBrush repertoire. Because of this importance, you can now quickly create new brushes in a few simple steps by transforming your active Tool (and its SubTools) into an Insert brush, allowing you to insert this model into another mesh.

Follow the steps below to create your own InserMesht or InserMultiMesh Brush:

1. Load your Tool and define the position that you wish it to have when inserting it on the surface of future meshes.

2. To avoid potential scale issues, you can optionally unify it by clicking on the Tool >> Deformation >> unify button. This automatically resizes the model to the ideal size for ZBrush to work with.

3. If possible, change the orientation of the model to face the positive Z Axis (dis-played as blue when the Floor is visible).

4. Create your Insert brush:a. To create an InsertMesh brush, click on the Brush >> Create InsertMesh but-

ton. ZBrush will ask if you want to append this current mesh to an existing Insert-type brush or create a new one.

If you choose the first option, your models SubTools will be added to the parts in the targeted InsertMultimesh. If the destination brush is an Insert Mesh brush it will become an insert Multi Mesh brush instead.

If you choose the second option, a new brush will appear in the Brush palette with an icon corresponding to the current Tool.

b. To create an InsertMultiMesh brush, click on the Brush >> Create InsertMul-tiMesh button. (This requires a model with multiple SubTools.) A new brush will ap-pear in the Brush palette with an icon corresponding to the last SubTool.

The creation of the brush doesnt consider the visibility of the SubTools, then even if some SubTools are hidden, the brush will use them.

Note:Make sure youre happy with the SubTool names before you create an InsertMultiMesh brush!

Each mesh within the brush will be identified by the SubTool name. ABC selection will therefore be a lot easier with helpful SubTool names.

You may also use only part of your model as an Insert mesh. This is done by hiding the polygons that you do not wish to become part of the brush. Only the visible polygons will be converted to an InsertMesh.

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The Demo Soldier has been converted to a MultiMesh Insert Brush. Each of its SubTools has become a mesh ready to be inserted.

Notes:For DynaMesh it is advised to use volumes. In this case you would not want to hide polygons.

For using the Insert brushes to replace polygons within another model, the mesh must have an opening and so you will often need to hide polygons before creating the InsertMesh.

Depending the shape of a replacement part, it may be useful to crease the mesh edges before converting the surface to an InsertMesh. The inserted mesh will smooth together with the model its being inserted into. Creasing before creating the Insert brush can avoid having to crease every time you use the brush!

If you wish to use your InsertMesh or InsertMultiMesh brush in future sessions, you must save it after creating it! Be sure to use Brush >> Save As to retain the brush for future use.

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6. insert Mesh new options

The Brush >> Modifiers options for the Insert Mesh and InsertMultiMesh brushes.

6.1 MultiMesh selector

This slider, located in the Brush >> Modifiers sub-palette lets you select by the Mul-tiMesh of your choice by number. This command is useful for quickly selecting from a few meshes that you regularly switch between.

6.2 MultiMesh spread Mode

This slider in the Brush >> Modifiers sub-palette is enabled only when a MultiMeshIn-sert brush is selected. It provides a way to vary between the insert meshes with each new stroke:

0 (default): inserts the selected Mesh.

1: Cycles forward in the item list with each new insertion.

2: Cycles backward in the item list with each new insertion.

3: Inserts a random mesh from the list.

6.3 MultiMesh Variation

This slider in the Brush >> Modifier subpalette is enabled only when a MultiMeshIn-

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sert Brush is selected and the Curve mode is enabled. It alternates between multiple mesh variations along the current curve by using the slider value to set the number of consecutive meshes to use.

The selected mesh of the brush become the starting model and the function will popu-late the curve based of the MultiMesh Variation Selector slider value.

On the left, the TriParts MutiMeshInsert meshes. On the right, the combination of them along a curve.

6.4 MultiMesh Variation selector

This slider in the Brush >> Modifier subpalette is enabled only when a MultiMeshIn-sert Brush is selected and the Curve mode is enabled. It defines the order of the inserted meshes used by the MultiMesh Variation setting:

1: Only the selected mesh is used.2: Cycle forward the meshes.3: Cycle backward the meshes.4: Populate randomly the curve.

6.5 projection strenGth

This slider, located in the Brush >> Modifiers sub-palette will conform the inserted mesh to the underlying surface.

Using a low value will preserve the original shape while using a high value will create a strong deformation.

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7. insert Brushes coMBined with curVe optionsThese options are only enable when the Stroke Curve mode is active.

The Brush >> Modifiers options when the Stroke Curve mode is active.

7.1 tri parts

The Tri Parts mode, located in the Brush >> Modifiers sub-palette enables use of an insert mesh comprised of three PolyGroups, with the middle one being replicated along the curves length. Please refer to the Tri Parts Insert brush section above.

7.2 weld

If an object is inserted into another and both have the same number of vertices at the boundary, this mode will attempt to weld the points where the two objects meet. The switch to activate Weld mode is located in the Brush >> Modifiers sub-palette.

Weld mode provides the best results when also combined with Stretch mode.

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On the left, Weld Points is disabled. Notice a gap between the rails. On the right, the Weld Points mode is enabled. The rails are connected, creating a continuous shape.

7.3 stretch

Located in the Brush >> Modifiers sub-palette, this option bends the inserted mesh by following the curve shape. When disabled, the mesh is considered a hard body and will only be oriented by the curve rather than deformed.

Also, when Stretch is enabled the mesh will twist naturally just as a ribbon would have a slight twist around something like an arm.

Stretch mode is Off in the top example and On in the bottom example.

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Note:If the inserted mesh has too few polygons, Stretch mode can cause unexpected deformation if

your curve makes an abrupt angle change.

7.4 oVerlap

Located in the Brush >> Modifiers sub-palette, this option changes the shape of the inserted element along the insertion axis. Depending on the slider value, it will stretch or skew the new object.

This option is available only when Stretch mode is on.

7.5 curVe resolution

Located in the Brush >> Modifiers sub-palette, this option is used to increase the resolution of your curve for a smoother transition between the inserted meshes. This is ideal when you have drawn out a curve with a large brush size for purposes of object scale but would still like to have a smoother curve.

7.6 Max iMuM Bend anGle

This slider, located in the Brush >> Modifiers sub-palette uses change in direction (or angle) of the curve to define the behavior of the inserted mesh along the curve.

A low value creates a very soft deformation of the curve while a high value creates sharp deformation.

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8. curVe snap surface BrushThis draws an evenly distributed quad surface between your curves. The thickness

of the surface is determined by the Draw Size value.

This brush works much like the Curve Tube. Draw Size sets the thickness while hov-ering over the curve adjusts the shape.

Click once on the support mesh to validate your new object before starting a new one.

From left to right, the evolution of a new mesh created from a series of successive curves drawn with the Curve Snap Surface brush.

Note:It is important to follow the same direction for each curve you draw or the brush will generate

twisted surfaces.

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9. Brush creation creditFor each brush, it is now possible to enter the credit for anyone who creates a brush,

including text and an URL. We anticipate that many users will use the InsertMesh and InsertMultiMesh features to create and share shape libraries. This new feature allows you to build recognition when you do so.

The brush credits added to the famous DAM Standard brush, created by the ZBrush Artist Damien Canderle.

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10. other additions and chanGes

The Curve Tube brushes now work relative to the Z Intensity slider. At 100, the tube has its default shape while a lower value will squash it along the curve.

The Curve Tube brushes use the Brush >> Modifiers >> Brush Modifier slider to define the number of segments for each tube section. A value of 4 will create a four-sided tube.

Note:A low Z Intensity value combined with a 4 value for the Brush Modifier slider will create a

flat band.

Several new brushes have been added to the Brush palette. These are simply preset brushes based on the new ZBrush features outlined in this chapter. The pur-pose of these brushes is to help you explore the new features by analyzing their behav-ior in conjunction with the documentation.

Note:To make room for these new brushes, some previous brushes are no longer loaded when

ZBrush launches. They have not been removed from ZBrush, however. You can access them at any time via the Brush tab in LightBox or in the ZBrushes folder within your ZBrush installa-tion.

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VIII DYNAMESH ADDITIONS

Since its introduction, DynaMesh has served as an excellent concepting tool for de-veloping the mesh that you will then sculpt. ZBrush 4R4 introduces refinements to give you even more freedom, such as being able to combine SubTools using DynaMesh and Boolean-type operators.

1. dynaMesh MaxiMuM resolutionIn some cases you might wish to create high quality details with DynaMesh, where

the maximum resolution of 1024 may not be enough.

For this reason, the maximum DynaMesh resolution has been raised to 2048, allow-ing your DynaMesh figures to have more polygons and thus support more detail.

Notes: Working with high resolution values for DynaMesh will result in models with millions of raw

polygons. This can slow down your re-mesh operations.

Using DynaMesh options like Project or Polish can take longer computing time with a high resolution.

Please bear in mind that DynaMesh is meant as a concepting tool. You will enjoy the best re-sults by keeping your DynaMesh resolution as low as possible and waiting to detail until the base form has been finalized.

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2. MerGinG suBtools as dynaMeshCombining objects when updating a DynaMesh can now be done through the Sub-

Tool sub-palette, in a similar way to the Remesh All function. When doing this, DynaMesh will use the SubTool operator icons found in every SubTool. For more information on Remesh All and its operators, please refer to the ZBrush 4.0 Whats new guide, p.162.

The currently selected SubTool must be in DynaMesh mode. The SubTool to be merged must also be assigned the white polygroup (Group As DynaMesn Sub). If both of these are true, performing a Tool >> SubTool >> Merge Down operation will subtract the merged mesh from the current one.

Follow along with these steps to use any SubTool as a DynaMesh subtractive:

1. Make sure that the DynaMesh SubTool is above the SubTool you wish to merge with.

2. The SubTool that is immediately below your selected DynaMesh SubTool must have the Difference icon selected. This is the second icon in the SubTool icons.

3. Now select the second SubTool, and in the Tool >> PolyGroups sub-palette click the Group As DynaMesh Sub button. This will convert the SubTool that will be used as a subtraction into a white polygroup. When using DynaMesh a white polygroup is an indicator for ZBrush to use that mesh as a subtraction.

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4. Select the DynaMesh SubTool (the sphere in this example), and click on the MergeDown button found in the Tool >> SubTool sub-palette.

5. Hold CTRL and Click+Drag anywhere in the open document to perform a Dy-naMesh re-mesh. ZBrush will use the Cylinder to create a hole through the sphere.

The result.

When using the Merge Down command for subtraction, make sure to have the Dy-naMesh selected. If you instead have the subtractive mesh selected, ZBrush will see this as an addition and combine the SubTools instead of subtracting.

Note:The function Merge Down cannot be undone. If you are not sure of the result of your opera-

tion, you can duplicate the SubTools as a backup and hide them.

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3. conVert inserted Meshes froM positiVe to neGatiVePreviously, if you hadnt pressed the ALT key while inserting a mesh, it wasnt pos-

sible to use the new mesh as a negative one and subtract it from the current DynaMesh object.

The new Tool >> Polygroups >> Group as Dynamesh Sub function will also allow an inserted mesh to be converted to a subtraction. Please refer to the Polygroup chapter of this documentation for more information on this feature.

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IX HISTORY - UNLIMITED UNDOS

ZBrush now has a larger undo history for various operations, allowing you to go further back into your sculpting history to fix any mistakes -- even after reloading your model in a new ZBrush session! While there is still a maximum number of undos which may be performed, this limit is now set at 10,000 which in most cases will be far in excess of what you might need. For clarity, you might think of this simply as a process history.

This feature is only available with a ZProject (ZPR format) file. It is not compatible with the .OBJ or .ZTL formats.

In addition to the expanded undo/redo ability provided by this feature, the Undo His-tory can be used to replay your creation process and save it as a movie.

Some actions with in ZBrush will clear undo history.

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1. undo history oVerViewThese undos can be turned on/off in any Project by toggling the Project >> Undo

History setting.

It is important to keep in mind that in ZBrush, some operations are not undoable. An example of this when using one of the Merging SubTools functions. Be aware that when using such a feature, it will delete all of the projects history up to that point. For this reason, ZBrush will warn you and ask for confirmation any time you ask it to perform an operation that will reset the history.

Having this message means your Undo History will be lost beyond the current point.

As with a traditional undo performing a new action will remove any latter steps. For example, if you have steps A, B and C you can undo back to step A. Doing something new at that point will create a new step B, preventing you from being able to redo to reach step C. Even invisible operation like storing a MorphTarget will delete the history that follows that point.

The Undo History works in exactly the same way as a traditional undo. However, since it is awkward to press Ctrl+Z or the Undo button hundreds or thousands of times a slider has been added which will let you quickly scroll through your history.

To improve navigation through the Undo History, ZBrush displays an Undo History selector at the top of the document. It has small rectangles in light and dark grey, repre-senting the History steps. You can easily navigate by clicking on any step. Or you may scrub through the History by draging the light grey rectangle.

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The Undo History selector, located at the top of the Document. The light grey rectangle represents the current step and can be dragged to navigate through the History.

The Undo history commands are located in the Edit >> Tool sub-palette. Notice that Undo History, when enabled, replaces the classic undo/redo commands.

The Edit >> Tool History sub-palette.

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2. history functions and coMMandsWhat follows are descriptions of the functions dedicated to the Undo History.

2.1 del uh (delete undo history)

The Del UH function, located in the Edit >> Tool sub-palette deletes the current Tool (or SubTool) History.

Note:The undo history, depending of the number of undos saved, can increase the Project file size.

If you dont need your undo history, dont forget to delete it every once in a while. Alternatively, turn off the Undo History button in the File palette.

2.2 undo counter

The Undo Counter slider, located in the Edit >> Tool sub-palette allows you to scroll and navigate through the current Tool history as an alternative to the Tool >> Undo and Tool >> Redo buttons.

You can easily have a high number of undos to navigate through in your history. In the screenshot above, the counter is at step 1,337 out of a total of 3,420 undos.

2.3 restore placeMent

The Restore Placement mode, located in the Edit >> Tool sub-palette moves your camera to match where it was at the stored history point. This is useful for a historya history playback.

2.4 store

This Store function, located in the Edit >> Tool sub-palette replaces the camera posi-tion stored in the current history position with the current position. This operation is useful when creating a movie using the history information and when a camera position must be replaced or modified.

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3. undo history for MoVie creationWhile sculpting with ZBrush, you are always turning around your model, zooming

in and out or changing the models position to focus on a portion of your model. Simply playing back a recording of your sculpting session can be awkward to watch due to all these movements. The Undo History feature has controls to overcome this and make your recordings more enjoyable for viewers.

ZBrush has several actions and options located in the Movie palette and Movie >> Modifiers sub-palette to alter movements to create smooth movies.

Within the Movie >> Modifiers sub-palette, you will find options related to creating movies from the Undo History. Notice that Spin Frames and Spin Cycles have an impact on the Undo History

movie.

As with the usual method for creating a movie in ZBrush, your history recording can be combined with BPR rendering and even BPR filters. The process is easy. Simply do a BPR render of your first frame, add your desired BPR filters, then launch the Forward or Backward history command.

If you are using a background to illustrate your model creation, the Light >> Back-ground >> Rotate with Object mode setting will synchronize the animation as well. If you wish to have a static background, disable this mode.

Click the F/B History buttons located in the Movie palette to play the history in a for-ward (FHistory) or backward (BHistory) direction from the current history point. This ac-tion is similar to the Turntable function and will not only play the actions, it will also record them as a movie, ready to be replayed or exported.

Notes:If you are in a record mode, clicking on the F or B History buttons will add the current movie to

the existing one. If you do not wish to have these several movies overlaying each other you can click Delete to clear all previously created movies.

Press the Escape key to stop the F/B History recording.

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4. MoVie creation options

4.1 hfraMes (history fraMes)

The HFrames slider, located in the Movie >> Modifiers sub-palette defines the quality of the transition between each recorded history operation. A low value will create a movie with no interpolation. A higher value will create a movie with better interpolation between the operations, similar to a blending transition between your strokes or operations. In-creasing the HFrames setting will have an impact on the movie recording time and the final movie playback speed because of the extra frames added to create a smoother movie.

4.2 hrecenter (history recenter)

The HRecenter slider, located in the Movie >> Modifiers sub-palette defines how much the mesh position will be re-centered on the document. A high value will keep the mesh position at the center of the document whiledocument while a low value will keep the mesh position similar to what it was during the creation process.

4.3 horientation (history orientation)

The HOrientation slider, located in the Movie >> Modifiers sub-palette defines how much the original mesh orientation during the sculpting phase will be captured in the movie. A high value will keep the mesh orientation similar to what it was during the cre-ation process while a low value will reduce the mesh orientation and create smoother rotations during movie playback.

4.4 hposition (history position)

The HPosition slider, located in the Movie >> Modifiers sub-palette defines how much the mesh position will be maintained as the model was moved and scaled during sculpt-ing. A high value will keep the mesh position similar to what it was during the creation process while a low value will minimize the mesh movements and create smoother play-back.

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4.5 history caMera path sMoothness

The HSmoothness slider, located in the Movie >> Modifiers sub-palette defines how smooth the camera path will be interpolated. A higher setting will have a smoother inter-polation of the camera from the original movement during the creation process.

Note:If you wish no camera movements for your recording put the HOrientation, HPosition and

HRencenter to 0. You must also set the Movie >> Modifiers >> Spin Cycles to 0 and Spin Frames to 1.

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5. undo history preferencesTo manage ZBrushs use of the Undo History feature, two preferences control loading

or saving history for the loaded Project.

The Undo History preferences, located in the Preferences palette.

5.1 show undo selector

This mode, enabled by default, displays a small rectangle within the Undo History (displayed at the top of the document) each time a new History step is added. The light grey rectangle is the current step and the other darker ones are the previous or next steps.

By dragging the light gray indicator for the current step, you can quickly scrub through the Undo History. Alternatively, clicking one of the darker rectangles will move you di-rectly to that history step.

5.2 show tiMe staMp

This option toggles display of the time stamp as a popup on the Undo Selector bar.

5.3 Max undo history

This slider defines the maximum number History Undo steps that you want to keep available.

If you dont wish to store your Undo History for animation purposes, you can reduce this value to minimize the impact of the Undo History storage space in your Project files.

5.4 warn when deletinG

This slider defines the number of Undo History steps that ZBrush will automatically delete without warning for confirmation. For example, you can move back 10 steps in

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your Undo History and make a change that would cause the following History steps to be lost. If this slider is set to 20, ZBrush will simply accept the change and delete the following History steps. But if this slider was set to 5, ZBrush would ask for confirmation before allowing the change to be made.

The purpose of this option is to prevent you from accidentally deleting your history while navigating through it. When you are working on your model you will typically want to leave this setting at a high value so that you can freely move within the history and start over from any point. But if you are setting up an Undo History movie you will want to reduce this value so that you dont accidentally lose your work while preparing the movie for recording!

5.5 enaBle saVinG

The Enable Saving mode, located in the Preferences >> Undo History sub-palette saves your History when saving your Project. Disabling this button will deactivate any undo history. You will not have access to the Undo History feature, but you will also have a smaller file size.

5.6 skip loadinG

The Skip Loading mode will not load ZPR files, but not any History saved within them.

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X TOOL AND GEOMETRY

Numerous functions have been added within the Tool Palette in addition to major features. Some of these functions like Mask Peaks and