ZBrush Introduction

ZBrush is a 3D sculpting software. This differs from the 3D software I am used to using - Autodesk Maya - in tools and functionality. Like Maya, Projects are created in ZBrush, though these projects contain "Tools", which are the ZBrush analogue to Maya's Objects. Tools can be brought into the ZBrush workspace in a "Draw" mode that places them in the scene. From this, an "Edit" mode can be entered that allows for greater 3D alteration. This is where the scultping capabilities of ZBrush come into effect. 

ZBrush bears a variety of different Brushes that can manipulate Tools in different ways. The brushes themselves represent different methods in which a model's geometry can be moved and altered, added to, cut or otherwise changed in meaningful ways that allow for sculpting. Brushes also bear "Strokes" that represent how exactly the Brush will move across the model.

The Brush is represented by a circle in ZBrush. This shows where the effect of the brush will be applied to the model. The Focal shift of the model can be changed to widen the brushe's influence.

Pressing Spacebar opens a shortcut menu similar to that of Maya. This allows you to immediately alter brush settings, materials and editing modes without having to navigate through the wider interface. Additionally, holding CTRL whilst hovering over a sculpting tool presents a deeper definition for what the tool can be used for.



The Perspective and Floor functionalities alter the way that Zbrush displays the Tools in the workspace: when Perspective in deactivated, foreshortening is removed from the Tool displayed. This allows for the model to be navigated in fixed views. The Floor adds a flat plane beneath the model, allowing for accurate orienting.
The model can also be fitted into the view of the workspace using the Frame functionality. Zoom, Move and Rotate functions are also immediately present at the right tray.  

When creating the skull I first imported the basic sphere Tool into the ZBrush workspace, using the Move functionality to manipulate the shape. Pulling both forward and down upon the form I was able to create a vaguely head-like structure that allowed for further manipulation. 

I primarily utilised four tools in this exercise: Move, Standard Brush, Pinch and Smooth. The Move tool allowed for the broader creation of geometry, adding large shapes and pulling on those already existing. With symmetry functionality activated this allowed for the rapid creation of wide vague regions of the model. I could very easily pull sections out or push sections inward where the geometry of the shape required strong divergence, such as in the cheekbone or eye socket. 

The Standard Brush allowed for the addition of matter to the model, as if I were adding clay to a sculpture. As such I largely used it to add or take away from the matter of the model where smaller or more specific details were required, such as for the indentations in the nose and across the cranial region of the skull. The pinch tool was then used to make these additions more defined and smoothing was used to flatten other areas of the model or to blend out the shapes between other structures of the skull. As I utilised the smoothing tool frequently in this exercise I found use for its shortcut, which is the SHIFT key. The ALT key also bore a useful shortcut in the exercise, which was to invert the operation of the tool I was using, such as subtracting matter when using the Standard Brush. 

On the whole I am relatively pleased with the outcome of this exercise, as this was the first time I used ZBrush. I had some difficulty in finely manipulating the model using the Move functionality, though this is something I will surely practice extensively in the future.