- Nov 6, 2021
- Reaction score
File Size: 1.7 GB
ZBrush sets the industry standard for digital sculpting and painting. Its features enable you to use customizable brushes to shape, texture and paint virtual clay in a real-time environment that provides instant feedback. When you use ZBrush you'll be empowered by the same tools employed by film studios, game developers, toy/collectible makers, jewelry designers, automotive/aviation designers, illustrators, advertisers, scientists and other artists the world over. In fact, we have even received an Academy Award for the technology that powers ZBrush. In short, ZBrush is an art tool created by artists, for artists. It allows you to create models and illustrations limited only by your imagination, at a speed that allows you to stand out in today's fast paced industry.
Base Mesh Generation
As with anything else in life, where you can go is usually determined by where you begin. Having a great finished model requires a quality base mesh. ZBrush provides an arsenal of tools to assist with this task, ensuring that no matter what you have in mind, there is a way to get the perfect base to then take to the next level. The best known of these systems are explained here.
Ignore the constraints of polygon distribution and simply - sculpt! Sculptris Pro will dynamically add (tesselate) and remove (decimate) polygons wherever and whenever needed. It does this during your brush stroke in a real-time process called Tessimation. This frees you to focus entirely on the look you're trying to achieve.
DynaMesh is a perfect solution for free-form sculpting because it removes all need for focusing on topological constraints. Change the overall shape of the model by pushing or pulling, adding various pieces of geometry to combine into one, or even remove geometry in a manner similar to what can be done with Boolean operations. Where Sculptris Pro dynamically adjusts the triangles in your mesh as you sculpt, DynaMesh redistributes the model's polygons as quads on command.
Whether created in ZBrush or imported from elsewhere, once you have your base mesh it is time to start detailing. ZBrush features a robust suite of tools to accomplish this. Those listed below are just the tip of the iceberg.
The main workflow for creating with ZBrush is based on a system of brushes which can also be modulated using pen pressure from a graphics tablet. ZBrush will reproduce the natural feeling of a real paint brush or sculpting tool, using the pressure applied to the pen tip to transform your digital stroke in a variety of ways. There are brushes to pinch, move, build up the surface, chisel into it, slice through the model and much more. You can even use other 3D models as brushes, inserting their geometry into your surface.
In addition to being able to add detail by hand, ZBrush provides a system for procedurally generating surface detail through noise patterns. Choose a detail type, adjust a few simple parameters, then apply that pattern to your model in its entirety or by restricting it to a certain region. You can even combine different noise types to create highly complex effects. The Noise system is ideal for both hard surface work and organic details.
Because ZBrush works with tens of millions of polygons in real-time, you can paint directly on the surface of the model without first assigning a texture map or UV's. This offers significant advantages compared to a standard workflow. The resolution of the texture map does not need to be decided in advance. This is particularly valuable if you find you need more detailing on an area than you thought you would. Instead of repainting a new, larger texture map you can simply transfer the existing surface detail to that larger map without any reworking. You don't even need to do UV unwrapping before you begin this painting. In fact, thanks to the way that ZBrush can project details (both sculpted and painted) from one model to another you can have a fully painted model before you even have a finalized animation mesh. Instead, you can copy everything to the final base mesh once it has been signed off on.
In order create or use a texture map, a model first needs UV's. These are 2D coordinates that tell all 3D applications how to apply a texture to your model. With most programs, creating those UV's has been a time consuming challenge that requires a high level of technical expertise and has little room for creativity. With UV Master you are able to create very efficient UV's for your model - in most cases with a single click. If you need more control over this automatic process there are features that refine where seams will be placed or increase the amount of pixel space given to certain regions of your model. It's both intuitive and fast, letting you get back to being creative with minimal fuss.
Whether you are using ZBrush by itself as an illustration tool or as part of a production pipeline for animation, you will at some point want to show your work to others. ZBrush makes this possible through a powerful rendering system called BPR (Best Preview Render).
-Secondary alpha to all brushes.
-Secondary texture to all brushes.
-Two test scribe-brushes "ScribeStandard" and "ScribeChisel."
-"Interpolate" feature to the Stager palette.
-BevelPro plugin to add bevels to medium-to-high resolution meshes.
-Bas-Relief feature to Tool >> Geometry sub-palette.
-Bas-Relief feature to Alpha Palette
-Local projection feature to brush surface noise. Added two sample brushes 'Pattern01' and 'Pattern02'.
-"Open XMD Toolbox" to File palette.
-8 visibility sets to SubTools.
-"DynaMesh Resolution Picker"
-"Align" and "Distribute" features to SubTools. When Multiple subtools are visible, ZBrush will do alignment/distribution between subtools.
If only one SubTool is visible (or when in Solo mode) then ZBrush will apply the alignment/distribution of the currently selected tool only.
-Edge-Detection filter to Spotlight.
-Copy and Paste functions to Stager.
-Texture Grab flat or shaded options.
-Gizmo soft deformation, adjusted with Focal Shift.
-KnifeRect and KnifeCircle brushes
-Rename and Do Visible >> Copy/Paste Stager options to SubTool Master
-Mask by Normals and Mask by Depth to Tool >> Masking sub-palette
-The curves stepping code and added a slider that controls sub-steps in the stroke palette.
-The curve drawing code to auto-apply the stroke when the stroke type is drag-dot.
-The basic deformations (such as scale, offset.) now respect transform-MultiSelection mode.
-FBX Import to load Camera background images when available.
-Draw >> Cameras with options to load images and change model opacity.
-"Align" and "Distribute" subtools respect transform-MultiSelection mode;
-'AdjustLast stroke' will now skip simple mesh movement
-Improved the Stroke-Interpolate to also interpolate Brush Size, Z Intensity, RGB Intensity, Front Color, and Back Color.
-When creating a mesh from alpha, planar UV will now auto-apply.
-Make BasRelief will also grab the texture at the same time.
-Using "To Mesh" from alpha will auto-apply any selected texture as polypaint.
-Brush noise now respects ZSub/ZAdd mode. (Previous versions were only ZAdd modes).
-A problem related to "Adjust Last" feature and Undo
-Crash with "Deformer"
-When multi-curve brushes are used with inserted meshes, editing one stroke smooths the others.
-Issue with saving and loading iMage3d Gif format on macOS.
-Typo in warning pop-up.
-Timeline track time numbers not displaying correctly.
-Improved Image Plane to handle higher resolution meshes distorting background images.
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