ZBrush Hard Surface - Tips & Tricks VOL. 1

[Music] hey there welcome so i kind of wanted to throw together a video in order to cover a bunch of tips and tricks regarding zbrush hard surface kind of shenanigans there's gonna be some time stamps in the description so you can kind of just jump between subjects if you just want to learn a clip curve how that functions or the booleans and stuff like that uh there's also this model here you can see on the screen if you go to my art station store page you can download it along with the videos if you really like this so yeah let's get started all right so the first thing we're going to do is grab a cube and we'll do kind of the basics i'm just going to add some subdivisions to it and then dynamesh i'm gonna give it like a 296 dynamesh maybe a little bit too much but we're gonna work with that um so the first thing i kind of want to cover is the imm brush so if you press b and i i'm gonna take this imprimitives thing here and the cool thing about this is that i i kind of use this to add kind of attachments or to kind of just build kind of interlockings or something that is connected to some kind of armor piece or something like that so we have kind of a selection of primitives that you can choose from so i'm just going to take this kind of cylinder here and for this you can kind of just drag it out and we can kind of start building some kind of shape from it and by using for example clip curve brush you can kind of continue doing this kind of lots of stuff and the cool thing about this brush is that for example you can keep adding to it until you have something interesting to work with or you could when you track something out now if you hold alt you can kind of do this kind of thing i mean we don't see it at the moment but you see the cylinder there it's inverted and what that means is that if we refresh the dynamics now it's going to cut into the mesh just like that so it's you can do like a quick boolean kind of thing by doing this kind of thing and there are some people that don't really like how if i drag one more out that he can't it's really hard to tell how much you're cutting into it so by fixing that you can go to display properties and you can actually double but doing that you can see how you can see a little bit more and control it a little bit more uh how far you're coming into it but this is really cool to kind of just build shapes if i have the cylinder extended now try it in the middle i'm gonna do this kind of take a symmetry off a little bit there do it like that insert it in there this kind of stuff and if we want to add some cubes we can hold alt now do this kind of stuff um drag it out there and like that see so we cannot by just kind of dragging pushing in and out we can kind of get this kind of really interesting uh shapes going on now i call this kind of the mirror and well trick so if i go here on the side of the cube here and if i just mask a middle portion of it and then i invert the mask and we put the pivot over here and then we kind of drag it to the left side of the mesh if you're going to do this so you kind of punch this hole in here so then we can refresh the damage and after this we can go to geometry modify topology and if you press mirror world now it's going to mirror the side that kind of has that kind of hole we kind of put in and it's going to be on the other side so you can kind of quickly do some kind of boolean effect uh by doing doing this kind of stuff and it's sometimes a little bit of cleanup but you can quickly clean it up by masking that area and then using the clip curve brush by holding ctrl and shift and drag it like that so you can clean it up like that all right now to tackle the third boolean trick so we're gonna mask the front of this box we had i'm gonna take take away the masking in the back and then we're gonna go to the extract menu here and we're just going to extract the default settings and accept so now we kind of got this kind of little extract over here and what i'm going to do is i'm going to press w to get the pivot then hold ctrl and press one of the surface front surfaces so when that when i do that i can extend it like that it masks the on the side of it and now if i give this just a if i press ctrl w and give it just one polygroup and same for this piece here i'm just gonna press ctrl w and now if i merge this down with the extract we just did we get this together now if we hold ctrl and shift and then isolate the extract we can go to the auto groups menu i'm in the polygroups and we can go and press this group of enemies subtracted so you can see we have a purple kinda poly grip at the moment but as soon as i press this it becomes white and now it's a subtractive boolean thing so now if i uh press ctrl and tap in the canvas and then we hold ctrl shift and tap again on the canvas we see everything again now i wanna everything else i'm just going to press ctrl again and tap now we can take the shape we created and we kind of can just put it into a this kind of a location and now if we refresh the dynames it's gonna boolean out this uh pulling this out so you can see there's always some art effect when you're doing this kind of a boolean method so same as earlier you can either mask the edges like that i'm gonna take the mask from the side like that and you can use the clip coat brush to fix these kind of edges and make it more crisp or we could go down to the deformation palette and we could take the polish slider and we can just give it uh 20 polish something like that uh a row however paul is the whole mesh so you can you can kind of just gotta choose when you wanna use this all right so part two now one of my favorite kind of subject which is the clip code brush to access the clip code brush you have to hold ctrl and shift and then you can go to the brush menu and you can pick it up here and when you have it selected if you hold ctrl and shift and drag it out you can see we kind of get this line over here and you can see that on one side of the line we have a gradient and what that means is that if i let go it's uh the stuff that is behind the gradient it kind of gets stomped down to where the line is so if i cut more down this happens so you can kind of use this to your advantage to just create a bunch of kind of crazy shapes by just cutting stuff out and like really quickly you can kind of develop a really cool stuff the click curve brush kind of has a two in one kind of thing so what i mean by that is if i hold ctrl and shift and drag it out again and if i release control and then press it again we're going to switch the select rect and what you can do with that is that if i for example hide this part of the mesh and you can see it's hidden now but i'll control shift again and then do kind of like a cut in here then i unhide everything else this happens so you can kind of do like a different kind of shapes uh kind of cuts into your mesh by hiding parts of it and it's really good if you have like a really advanced uh mesh and stuff like that it really advanced longer you're kind of cutting into parts you don't want to you can just hide it like that and the clip cut brush can also kind of extrude into meshes so i'm going by that and then work this and if i take this take the clip curl brush and kind of punch it in here this thing is going to happen so you can kind of just uh extrude in stuff with it and when you do that you can also go to the side of it and you can kind of cut randomly in an incline and you can kind of give it this kind of a like a really nice shape so we do this now you can kind of see how we uh start to give it even more of a personality but kind of you know this kind of it looks like a button and stuff like that and then we can extrude this down by masking a part of this take the mask in the back into this kind of stuff so you can see how we kind of close this off now and you know we can continue just doing this kind of cuts in so now i kind of want to cut in again so i do it like this so you can see like really quickly if we continue extruding in and out we can kind of get this kind of advanced looking kind of maybe this could be some kind of arbor piece a lock or something like that so yeah so there's more to the clip cut brush as well so if i drag it out again and if i press alt i kind of get like a soft kind of transition but if i double press alt this happens we can kind of get like a hard cut and now if i release shift we kind of stop snapping with the curve so you can look like a smooth transition so by doing this we can hold ctrl shift double tap it get this kind of thing release all now release shift and then you can kind of do these kind of cuts there's also different variations of the clip code brush there's a clip circle center which is over here and that what that one does is kind of adds kind of circles you can either do it like this just to cut out a mess or if you hold ctrl shift then hold alt as well and kind of do this kind of thing you can't add to it with a circle so you can from there you can just kind of advance your shape and if you do it kind of like this from this angle hold alt kind of adds this kind of intent and if you mask the back side of it let's say we do it now kind of get this kind of thing so you kind of can't get this kind of fastening or some kind of lock to it if you're adding it to armor and stuff like that just remember to uh mask the back side of it so it doesn't go all the way through there's also a another variation of it which is called the clip rectangle and what that one does is basically the same as the circular one just adds kind of boxes to it so you can use that as a base when you're sketching out or constantly or something like that so now i kind of want to demonstrate a little trick you can do if you combine masking techniques with clip curve brush so if you if we mask the upper part of this box here then remove the back part of it like that and if we make our way to the macros menu we can press this apply around around corners to mask and if we press this multiple times you can see that slowly we begin to see that little mask we had it gets round corners now if we flip this and then we drag with a clip coat brush and apply this this kind of thing happens and this is really cool trick for getting these kind of beveled kind of cuts into your mesh and just makes it a little bit more sci-fi-ish and to clean this kind of thing up you can always go to the defamation palette take the polish thing or you can take the h polish brush and activate back face masking on it which is in brush here and auto masking and back face mask so if we press that we can kind of clean up this shape by having the holish just going over here pressing alt as well to push it in and out and slowly we can kind of clean up the shape so yeah this is a really nice way to kind of create these kind of clean cuts all right so now in part three we're going to be covering some masking techniques and just how it works kind of in the grand scheme of things and how you can do some cool extrusions or whatever with it so everybody knows the classic mask pant brush you can just do like a box like we did earlier that kind of stuff but now we're gonna take the shape a little bit further we hold ctrl go to the uh the mask pen selection here and we can pick up the mask lasso and the cool thing with the mask lasso is that you can kind of drag this out and you can use the side that is always kind of has a straight line so you can either just use kind of come to a crazy lasso shape or you can either start from top of here you can see that we'll be dragging out we always have this kind of straight line on one side so we can kind of cut it out of this shape here and we can always just hold ctrl to tap in the uh on the mesh to either blur it or control an alt and then tap like this to make it even sharper and then to just create a different shape from this all we can pull the control again go to mass curve one of these more favorites because you can either then you can take it like this it kind of works like the clip curve brush which you can kind of just take the side of it like this or you can add to it like this but we're not gonna do that we're gonna cut off from the shape so just like the clip curve brush you can either tap alt once one time to do it like this kind of give it this kind of shape or hold all to take it away from this and it's just a really nice way if you wanna you cannot you know you can always hold the shift as well to kind of make it snap you can you know it's gonna go like this so to kind of combine everything together we can take the mask perfect circle do that do this kind of a cut here it's going to cut it out like here and then we can do it maybe multiple places then we can take the mass curve brushes as well oh do it like this then to kind of top it off we're going to always go to the macros menu and apply round corners to mask and i'm just going to change the shape entirely so now you can see we kind of have a more groovy kind of shape and then if we flip the masking altogether we can go to the deformation palette and we can because it's kind of kind of connected like here so we can go to the inflate it's over here and then just drag this up like here that's kind of uniformly kind of inflate this out of the object like this you don't want to do it too much though because otherwise it's going to create a lot of artifacts and you're going to have to clean up you can always you know either cut in like this as well it's gonna create some artifacts but you can always clean it up but i i'd rather use it to just inflate something out of the object like this because if we refresh the dynamesh and then go to the poly section you can see we kind of got this kind of cool pattern here so you can quickly create this kind of things by just masking beforehand and then inflating it out then you can kind of get this kind of thing going on all right so we can also use our pivot tool to kind of create a really interesting intent for uh in our mess here if i mask this part of it i'll take it from the back as well take it away and i've reinverted and i'll take press w to get the pivot i'm going to press alt to press this over here gonna restart where it is and now if we take the rotation on the x-axis we can kind of rotate this in so because we put it below here now it's gonna give this kind of incline in in the mesh so i'm just gonna do this kind of thing so now we're gonna go this thing let's say for example for some reason you want to grab this side of the mesh here and you kind of want to mask it but whenever you do you will it's gonna go all over the place so to fix that you can always hold ctrl and then activate the depth mask and then with the depth math asciiway activate it you can do this kind of stuff just crunch it really kind of just not all the way but like this and then you can kind of go a little bit more ham oh not like that you can go like this really crunch it and then you can kind of go a little bit more ham and just take this side of it shrink it a little bit you can see how it it's a lot more controlled that way and you can kind of grab it and if you need to clean it up you can just kind of take the mouse pan like that a little bit more like that but now you can see we kind of grab the corner here and then we can do whatever extrude you know something like that just do that to something like this i mean it's really messy but at least you can kind of grab it with a depth mask doing it like that and moving on from where we were earlier i kind of wanted to take a look at the mask pen so sometimes if you activate the lacing knobs on the mask pen it could get kind of smoother kind of transitions when you're working with it because if we kind of take it off you can see how it is like that but now we have it on it's like this works like this i think it's really nice when you want to have kind of a controlled movement of uh kind of when you're doing kind of indents or something like that so you could do something like that there's also a trick that you can do with the pivot as well if you do this kind of thing and if we just use the pivot here don't take the just do this kind of thing and then just use the scale tool to kind of give it like a bevel effect so if you want to kind of do a button or something like that it's also kind of nice trick if you want to just extrude something out and do this kind of effect let's do this kind of thing or this and i think it's nice for these kind of simple boxy details and then of course we can kind of continue with what we did earlier you can do this kind of thing mask it over here and then we can apply around corners to mask press that repeatedly kind of like this maybe i'm going to take the masking in the back of this thing all right take the pivot i'm gonna add it there do this kind of extrusion and like here and i kind of got this kind of this effect going on you can polish that thing so you can see now uh earlier we kind of got these hard edges but now kind of got this kind of soft softer look to it and yeah it's really nice for these kind of different kind of details extrusions or something like that all right so now in part four we can kind of take a look at some of the miscellaneous things regarding how to create creationist brush so i kind of first want to start with a snake cook brush and how it kind of works really well with the acid curve so we take this makeup brush here and we just drag it normally it kind of works like this and we don't really want that effect but if we go to the brush menu here and we go to the curve section go to the curve you can see now if we enable that we get kind of this needle effect and what you can kind of do with that is that if i for example extend this cube over here do it like this and we kind of get this kind of crazy effect going on um then we can mask one of the one side of it and then we can extend it to the other like this and then if i take away the other side like that and now we polish it you can see we kind of got this kind of very different kind of shape going on here from the cube so you know we can always you know clean it up a little bit more all that kind of stuff so from there you can kind of create really intricate kind of shapes if you drag it and then click curve it from one side to the other and then with the move brush for example i kind of use that with back face masking so we go to brush and then we go to auto masking and then back face masking over here i already enabled it so with that you can kind of like just take one side of it and just extend the mesh kind of like this you can't go up with it you know because we're going up there but like it only kind of extrudes down from it so it's a good way of extending your mesh if you're for example you're sketching something out and then um you just won't kind of just want to extend it a little bit so it's a good way of doing that i feel like because it holds the original shape or just pulling the back of it kind of like that and there's a lot of cleanup it gets really messy really quickly so you kind of want to maybe drag this out all the way over here and then you want to take for example the clip curve brush to kind of clean this up and maybe the sides of it if that's kind of gets blown away so kind of like that and we kind of just got to clean up a little bit more maybe with the h polish or something like that but in the end we can always get kind of really interesting shapes with that just by extending it with the back face mask so for another kind of tip is that if we for example extract this kind of thing here just accept this go to extract menu and just extract the default settings and set that uh we can either to kind of we can either inflate this kind of thing here i'll go deformation and inflate we can either inflate this object and get kind of this uh bevel effect on it when you do that or if you just want to extend the mesh you can either uh if we just enable some dynamics on it just a little bit more um we can either mask a portion of it or just use the last glass over here another mask portion of it and use the clay coat brush to kind of drag it out there something like that and then you can use the move brush with the back face mask to kind of fix this error over here and then drag it over here like that so you can use that too for shape creation for example or if you have it like this and you just want to use the move brush with back face mounts then of course you can do that to kind of just extend your mesh and like earlier it's going to be messy as hell so just enable a refreshing dynamesh on it it's usually going to take care of it and then we can um from there just clean up with h polish or clean curve or something like that so now we can fix that do it like this clip cuff and then on the sides over here as well and then we kind of got this kind of extension of this kind of thing here let me clean this up here so you can see there's a variety of ways of how we can kind of do this for shape creation and that kind of stuff so just continue like that and of course he will extend it to something like that you can always use the pivot tool and do this kind of thing so this could be some kind of piece part of some armor something like that all right so now i kind of want to take a look at a radial symmetry function and how i use that to create kind of like advanced cylinders or kind of connection points and stuff like that so to activate kind of this uh symmetry we can go to transform palette and stuff like that but i already made it put it up here on the right side for me so you know you activate symmetry by symmetry by pressing x and then if you do the radial symmetry here by pressing r then putting it to the max by 100 you can see it works like this sometimes it's good to actually local symmetry if the object is smaller than the scene and stuff like that so i kind of tend to use that and then i use the h polish brush uh i kind of use that to kind of create and push and pull uh shapes out of this kind of thing so you can see if i use alt and just by using the brush by normal we can kind of kind of get this kind of like do this a lot of bevels and really cool effects on the cylinder hey we have we have here just by having a nice amount of dynamesh we can continue just to go ham this kind of shape and it's a good idea if you really want to do like hard bubbles on it to use stream dynamic i really use that a lot to kind of just level that stuff out you can always use that to uh alt on out as well so i kind of switch between h polish and trim dynamic brush on that you can also experiment with other brushes as well of course uh for example the layer brush or something like that to do this kind of effect gotta crack up the c intensity on that so we can kind of get this uh this kind of thing let me just do like max so we can see how we're going to kind of extrude it in this kind of way then if there's some cleanup we can always reverse the vanish use the h polish again do this kind of thing you can see how easy it is to kind of create these kind of cylindrical objects that have this just massive details to it for example we use the damn standard on top of that we could do this kind of thing cut into it that kind of way and i think it's one of my favorite ways of kind of creating this kind of connection points or some kind of screws or something like that so it's really fun i also recommend just experimenting with a bunch of brushes for example a chisel brush can do really crazy kind of effect on this bevel like a different kind of effect and then we can use the trim adapter for example to do like insane cuts into it not like that but something like this like really deform the thing then we can take the trim adaptive it's polish again do that kind of thing i also recommend trying out the old crack brush um kind of like that get the effect in there that we can try you can always pinch it for example to this kind of thing uh planar brush could be very useful for this kind of thing you can kind of get like really different effect on that you can see how it kind of made it look like that um this kind of thing definitely experiment with a lot of different brushes and then can you always try the imam primitives brush as well and we can lower the radio count for example let's do like eight for example we do instead of sphere kind of like that like we did earlier do this kind of thing and then refresh and we've got this effect on it so just by kind of testing out a bunch of brushes you can quickly get really detailed kind of things with this all right so here in part five i kind of want to cover some uh default brushes that are very nice for some hard surface creation and all that kind of stuff so the first thing i want to start with is the layer brush and how that one kind of works is if i hold for example alt i can either cut in to a surface and it kind of doesn't like uniformly you can go back and forth into that area where and you can kind of cut in or in or out you can always you know make the c intensity a little bit higher like 50 so it does more of an effect so you can start maybe when you're sketching something out you can cut something quickly in and then do something like that you can always use the lazy radius crank that up to have a little bit more controlled effect on it you can do this kind of shape then you can always hold the shift thing as well kind of doing like this kind of um cut into it and what i kind of like to do with it is i like to do drag dot take away the lazy mouse um i activate alpha 58 and then without one if we cannot do the intensity of 60 or 70 or something like that you can see we could kind of just have a simple cut into your mesh kind of like that and you can always make it a little bit smaller like right do it again and do this kind of like details in that kind of way uh i also kind of the way the reason i like to use the alpha 58 is because if i go to the alpha menu here drag it to the right side here and [Music] if i open up the modify tab you see the radial fade and what that one does is that if i for example drag the radio fade to maybe 15 you see how it affects the alpha so that's the reason i have the sharpest one because then i can just in here modify it really quickly instead of all switching between office and that one is a really great one for when you share any ideas or like if we do like five for something like that you can do these kind of things it just changes it really drastically all the time so you can do different kinds of stuff and they can combine it with for example the h polish brush to uh do uh like different kind of ways of uh details on it and uh yeah that's basically it with the radio fate it's just very nice when you are uh really what a controlled way of doing these kind of cuts in here so the next up is the planar brush um that one is quite good when you kind of just want to kill some kind of surface do kind of a bevel effect on it like for example if we demonstrate it here if i mask this portion of it then i just take the planar brush to this kind of effect and we kind of just do it at an angle like that you can see how we managed to um create this kind of bevel effect it's nice to kind of kill that kind of stuff um it's nice to flatten some areas as well you kind of want to do that effect and it's nice to uh push out some stuff as well yeah it's pressing holding alt to kind of push out some stuff if you were just sketching from some kind of surface and you just want to make some kind of noise to it uh it's a really handy brush for that kind of stuff sometimes i just like sketching with it just to kind of push it in and out to maybe get this kind of shape and then refreshing dynamics and then continue from there to flatten stuff out so then we have the trim adaptive one which is a variation of the trim dynamic brush so what this one essentially does is that if you have a flat surface like this one it kind of conforms everything else to it so if we start from here then we can flatten everything else that uh it's kind of extruded out so it's really good when you just want to do a hard reset on the stuff it's really it's really destructive so keep that in mind you can also kind of fill in holes with it if you hold alt that kind of stuff so you can slowly just fix up the surface kind of like that and then we have the chisel brush which is very handy like we did earlier with the so if we now we drag something out if we hold shift when we drag something up we can snap it like that so we do this kind of thing so we can do this kind of a little line line work here we do it even smaller and then you can have different types of lines like this one that's going to double so holding shift and letting go shift dragging it out like that and kind of just do these kind of things here and it kind of you can make it you know generate some interesting surface add framing to it or something like that you can always also use the dam standard brush which is the classic um i usually change the alpha on that one change it to like maybe a little bit something stronger alpha 45 for example is pretty good that one it's just you know cutting into it um i like to do a little bit more lazy radius or not and then we kind of cut in like that it's like a soft uh chisel brush really so yeah you just want to do a little bit of cuts here and there you can kind of get away with that just you know doing this kind of stuff it's really a nice brush for this kind of stuff then there's another type of brush that i use which is in the light box where you can find that one it's a slash two and that one is very like it's used for clothing and stuff like that uh but i like to use it sometimes for kind of different kind of ventilations or stuff like that if i actually lazy mouse for example do like 100 lazy radius then we can kind of do this kind of effect so it kind of just gives it a like a more organic kind of ventilation system or something some kind of cut for it then of course like we used earlier we use the trim dynamic and haste polish brush the trim dynamic is fantastic for just you know killing an edge or something like that just it respects nothing you can just kind of go through here and destroy a lot of stuff or generate some ideas with that kind of like here and then h polish brush is fantastic when you're kind of just uh cleaning up things i feel like um like if you're just doing this kind of thing and then pushing out in and out it's also a good idea to activate back face masking on that one so it's kind of like this so uh kind of respects the edges kind of like that so you can just go ahead a little bit more ham with stuff and just go along the edges and it will kind of respect how they work it's good for cleaning up artifacts and that kind of stuff in your mesh if you encounter any i also recommend using the curved pinch brush for generating ideas when you're just doing kind of trying to get a surface so if i drag this out and then hold alt to press down you can see we kind of can get this really uh organic way of doing something and then we can take the h polish brush for example and then continue from there to iterate on this little thing and so it's a very good thing to just generate ideas you can always go back here do this kind of thing and then we just press it now press in kind of does this kind of thing i mean it's very random so maybe you can generate some happy accidents through that kind of brush you can see now we kind of got this kind of really nice bevel here so it could be something but uh right it's also if you don't feel like uh doing this kind of thing then going here and extracting something you can always go to the curve quad fill brush here then you can just draw something out like this it depends on the draw size of your brush so you do this kind of thing and you can just draw something on top of your topology and then you go to split and then go to split unmask points you can always have this kind of thing as a separate uh to this and then from there you can add dynamesh to it and go even more ham with that and either you know merge it down again go ahead merge down always okay like that and then kind of got that going on for ourselves as well so gonna mix that mix and match and there's also one thing if we go back here to our box thing earlier like we demonstrated earlier with the move and stay cooked brush i want to talk about the move infinite depth one uh so the move brush originally he kind of just we drag something out it kind of destroys the surface you can see it here if i press shift s and then drag it over here and then we use the move input depth what that one really does is that it kind of tries to keep the original shape so if you want to drag something out will create some kind of incline like a really soft one you can use that to your advantage to kind of it kind of tries to hold on to the shape for you so it's really fantastic when you have something small and you want to do something more with it so you can see how it uh changes like that and i also recommend testing out the smooth brushes so i usually try these ones i use the smooth alt and smooth stronger and to access smooth stronger you have to press go to the light box menu and you have to go make your way to the brush selection here and then you got to go to smooth and over here you can find it smooth stronger so if we press that you can see smooth stronger is really nice when you're sketching because it kind of just destroys it uh destroys the surface it's basically just smooth but stronger but then if you want to preserve details when you're designing something i recommend bringing b and s and then find think smooth alt which is over here so that one kind of tries to preserve so now you can see i'm holding shift and then smoothing it it preserves the surface so it's nice to do that the regular smooth brush kind of just to kind of destroys it it doesn't really respect it so i recommend using a smooth alt for this uh when you're doing a little smaller details and you kind of want to smooth a little bit if there's some artifacts you need to clean up now i kind of want to tackle some of the custom brushes from other creators that are really nice for hard surface stuff i'm going to first start with the mah cut mac 8 brush that one is quite fantastic but for example you have the sphere here and you just want to make this a lot cleaner than it is because it kind of pinches your object at the same time so you can see how we have like we had the blurry kind of cut here but now when we've applied it it's a lot sharper really and it's a good way of you punching in and out of your stuff too just to do kind of the edges and put an emphasis on that so we can do that kind of stuff and then doing it like kind of like that so there's a lot of good functionality in this one so i recommend getting this one here there will be links to download all of them in the description below or like links to where to get them from the creators there's also the classic orb cracks one which is really good for also when you want to put an emphasis on from kind of edge or something like that for example this one it's kind of like a softer a dam standard it has kind of more of a bevel to it when you apply it somewhere so it's good when you kind of just want to do this kind of stuff or cutting in somewhere and that kind of functionality so they can push out and then to kind of finish with the custom brushes i would like to talk about the mike nash one uh they're very nice when you're concepting or first starting out with just trying to generate some ideas uh so like this one for example is just kind of punching out some kind of cubes and it's nice when you want to make a clean cut like this like this one for example it's like a really a very good one because it kind of depends on the angle you go you see like this and stuff like that so i recommend checking them out as there's a lot of functionality in them when you want to just want to add something to your mesh when you're concepting or generate some ideas and stuff like that so yeah i like this one so yeah a good one for your collection and that's it for volume one i really hope that some of the tricks that i showed off here proved to be useful to you i kind of want to end the video with a small shout out to these other artists um nelson thai george zoppler jonas roshinus alex vergini mike nash kane townsend and alex seneschal i definitely recommend checking them out as they have a variety of other fantastic resources online when it comes to concepting all the hard service stuff in zbrush alright that's it until next time you

Channel: Breki Thor | BT

Views: 77,484

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Id: bro9adguENA

Length: 38min 39sec (2319 seconds)

Published: Tue Jul 27 2021