ZBrushCore VS ZBrush : Which is right for you?

[Music] hey there this is eric keller for zbrush jewelry workshop and i put together a video here to answer a question that we frequently get from new users or people who are interested in incorporating the power of zbrush into their jewelry or their object fabrication workflow and that question is what's the difference between zbrush core and zbrush so if you go over to pixellogic.com and check out the website you'll find lots of great information if you go to 3d software you can see there's a link for zbrush and give you some great information on what zbrush is and how it works plus lots of beautiful images from wonderful artists and then if you uh check out the menu you can also see that there's a link to zbrushcore this will take you to a website again lots of beautiful images and lists of features and so on but it's still kind of like okay but what really is the difference so i came up with this idea to sculpt the same ring a mantis ring praying mantis reign that i had in mind and i sculpted it twice i sculpted it once in zbrushcore and once in zbrush and i recorded both of those sculpting sessions and then edited down into this demonstration that you're about to see so these images are cg renders of the ring design that i created using redshift for maya so the ring hasn't been produced yet it's still i'm still working out this version has a bit more detail of added wings and sort of a suggestion of an abdomen and that kind of stuff but if we take a look here in zbrush here's the zbrush version of the ring that i'm about to sculpt in this video and here's the zbrushcore version they're slightly different because i sculpted both from scratch using slightly different techniques that's kind of the whole point so the advantage that zbrushcore has is that it's less expensive and easier to learn because it's not it doesn't have as many tools as zbrush the main advantage of zbrush is is that it's more powerful has many more tools so i always compare it between like a 25 foot sailboat and a luxury yacht both of them will take you where you need to go but the yacht is going to take you there in style probably a little bit faster however if you're using zbrushcore just to test things out the main question is can you actually produce something in zbrushcore can you take something from an initial idea all the way to a file that you can export and then print and cast and so on and the good news is yes you can and here's the proof here's some photographs of a ring that i created entirely in zbrushcore exported it printed it cast it here's the actual ring you probably can't see it because it's out of focus but it does actually exist and i'm quite proud of it all done in zbrushcore and then another bit of good news is that i have an entire tutorial on how i did this ring in zbrushcore available on zbrush jewelry workshop if you look under free tutorials and scroll down you can see here is the zbrushcore octopus ring tutorial and there's a couple other tutorials including one on zbrushcore mini so if you watch this video you want to follow along this is how i set it up i do a bunch of things to the ring in zbrushcore and then i switch over to zbrush and i work on the same part from scratch but i show you some of the different tools that you can use in zbrush so you can compare the two i also have some logos at the bottom of the screen so you can keep track of which program i'm in so zbrushcore has the white background with the orange logo it says zbrushcore zbrush has the orange background with the black logo and it just says zbrush so keep track of that i'm also using a custom interface in zbrush so let me expand show you what i mean so normally zbrush looks like this this is the standard interface i'm using a custom interface that we've designed specifically for jewelry sculpting it's actually designed by tomas wittelsbach and if i go into preferences and restore custom ui so this is the custom ui so i'm using this when i'm in zbrush so that's another clue since i made it look very different from zbrushcore so you can keep track of which program i'm in and i use different materials okay so that being said let's get into it and dive in and we'll start in zbrushcore so in zbrushcore i'm going to load a project by going to lightbox going into this folder and loading a pre-made ring object i can use the 3d print hub plug-in to verify the size in millimeters now if i go over to zbrush i could do kind of the same things but i can also have more flexibility to load custom made tools like this ring tool that we provide for zbjw members that already has the ring the mandrel and everything set up at the right size and we have a variety of sizes available as well so a little bit more flexibility there but not a huge difference overall back in zbrushcore i'm going to turn on radial symmetry do a bit of smoothing and i'm going to add a polymesh star as a subtool so sub tool is kind of like a separate object that you can manipulate so you can build up hierarchies or a simple hierarchy of various objects i've added a cube and i've smoothed it and i moved the use the gizmo to move it up and i'm going to switch over to some sculpting brushes the move brush turn on my symmetry on the x-axis and just simply start shaping out the mantis head with this low polygon object this is all kinds of stuff that you can do both zbrushcore as well as zbrush in zbrush i'm going to take a slightly different approach though just to demonstrate one of the major differences i'm going to add a cube as a sub tool just like i did in core i'm going to adjust this the subdivisions using the gizmo tools but then i'm going to switch over to the z modeler brush once i get this in place going to position the top of the ring maybe scale it down a little bit and i'm going to switch over to the z modeler brush which is only available in zbrush and this allows me to directly manipulate polygons so i can select these polygons here and use z modeler to extrude them out likewise i can add divisions like an edge loop right there and then select these polygons pull them out have them kind of merge seamlessly with the polygons above same thing with the top here so that's a huge difference between zbrush and zbrushcore and the z modeler brush is something that you find you would find extremely useful if you're going to do a lot of this type of modeling but now i'm going to subdivide it just like i did in core switch over to the move brush change my brush size and then just kind of shape this a little bit get more of that mantis like head going you can see i have more options for materials and zbrush as well back in core let's get to some simple sculpting with the eyes i'm going to switch over to the inflate brush so i don't have nearly as many brushes in zbrush core as i do in zbrush but i still have enough to make some very nice details in this model so i'm kind of just defining the areas of the eyes there doing a bit of smoothing and just kind of carving in some detail with the damien standard brush that's where the antenna are going to go and down here i'm starting to kind of delineate the uh the mouth parts and using the smooth brush and the sculpting brushes to kind of make these plates that you see on the head of the mantis so this part of the workflow where i've subdivided the model and i'm using the sculpting brushes to kind of work out these details and block in these areas this is very similar between zbrushcore and zbrush both of them have very powerful sculpting brushes and the ability to subdivide models so they have lots and lots of points to work with the main difference though is that zbrush has many more brushes and brush presets available than zbrushcore so that's that's one huge difference right here but at the same time as you can see as i'm blocking these parts out this is the ocelli these are the three little eyes that appear on the top of the uh the mantis head sort of their very primitive eyes um sorry a little bug nerding out there couldn't help myself uh so now we're back in zbrush and using the same move brush just like i did in zbrushcore and then i'm using a similar brush to block out where the eyes are you can see i have my reference photo there that's actually not part of zbrush that reference photo is is from a program called pure ref and i highly recommend it it's a great little app it's a standalone app that you can load in reference images and then you can have it above whatever application you're working in whether it's crusher anything it's a great little app highly recommend it anyways back to zbrush i've been masking out the main part of the head and then just pulling out and refining the eye shape to kind of match my reference imagery this again masking brushes and that kind of stuff you can do in both the zbrush and zbrushcore but you can see over on the right side of my screen how many brush presets i have available there's a lot of them so i'm just zooming in here on the face to get a better idea of the different parts of the face and then i usually just block them out with simple lines to make sure i have everything sort of organized where it needs to be before i start refining it so just jumping ahead a little bit you can see i'm still just working out where all these parts are supposed to be so i've got a couple little holes here for the antenna are going to go and again i'm creating this trio of simple eyes known as the ocelli so they're like a very primitive eye that is in addition to the compound eyes that you see on either side of the mantis head so let's talk about mouth parts in zbrushcore so if you've ever taken a close look at uh praying mantis or watched video of them eating you know that their mouth parts they have these uh little appendages that come out that are called the palps and um they come out from underneath the mouth and they're like little fingers i guess that's why some people find insects creepy i find them really cool and so i'm using z spheres to create these so this workflow i'm using in zbrushcore you can do this in zbrushcore and in zbrush these uh these z spheres are like a little armature and they're great for doing creatures and characters and that kind of stuff as you can see they almost work perfectly these little finger-like things so i'm just adjusting the position of the z spheres and adding some more and what i'm going to do with this armature is i'm going to turn the armature into sculptable geometry once i've blocked out the basic position and scale and all that kind of stuff so here's just the z sphere now what i'm doing is i'm converting it to geometry and there's lots of options in c brush core for the type of geometry or topology you want to create using the z spheres so now that they've been turned into geometry i'm starting to use the sculpting brushes to add some detail on the divisions between the various parts of the appendages okay so now let's switch over to zbrush and make some mouth parts here now you can use that same z sphere workflow that i just demonstrated in zbrushcore you can do all of that here in zbrush but i'm going to choose a different route just to show one of the big differences between zbrushcore and zbrush so in zbrush you have what's known as the z modeler brush z modeler brush is actually a suite of polygon editing tools so i've been a maya modeler for many many years so i've done a lot of polygon modeling in programs like maya or moto or similar to blender and that kind of thing and it's nice to know that in zbrush you can actually do that style of modeling because you can manipulate the points and add edge loops and dual all kinds of crazy extrusions and with a fair amount of accuracy once you get the hang of it it can start to get really fast because you can see i'm not constantly switching over to menus to change various tools because zbrush understands if i'm hovering over a vertex to use a vertex tool if i'm hovering over a face use a face tool if i'm hovering over an edge use an edge tool and then i can use a menu interactive menu to switch between the various tools depending on what i want to do to those components of the polygon mesh so i'm just rechecking my reference here so you know i'm not making this stuff up these things really are this weird and now i'm just kind of using zmodeler and point editing mode to kind of just move these things around you can see and i'm selecting some faces and using qmesh which is a very fancy type of extrusion to kind of add some geometry where i need it so once i have the basic shape worked out i'm going to subdivide it and i'm going to switch back to our custom blue material here and then use the gizmo to kind of just position this and tuck it under the mouth and just use the sculpting brushes to you know inflate and move and reposition and shape the nice thing about this is i've had total control over the topology and how the base meshes subdivide it that's a nice feature to find in zbrush so i know these mouth parts are going to be very very small on the final ring but i like to model them out anyways just because i like to start with at least a kind of a semi-accurate model of the organism that i want to sculpt so back in zbrushcore i'm going to add a polymesh star and convert it into a cube set my divisions and switch back to the gizmo and kind of squish it around here so i'm going to start making the front leg which is going to be made up of four major parts so here's our reference in pure ref you can see i've got four major parts to uh the front light but i'm going to start with the cube and kind of rotate it into place and position it and i'm going to use this to shape out the femur which is one of the bigger parts of the leg and so i've subdivided it and i'm using the move brush to start to kind of shape it and get the basic position i'm not going to bend it so it conforms to the ring just yet i'm going to model it as if it was straight and so i've just hidden all the other sub tools so i could just focus on this one part and i'm using a brush i'm just kind of tweaking the brush settings here to kind of find a nice turning on lazy mouse so i can make a nice sort of straight but organic line here both the back and the front these are kind of like these ridges uh that you frequently see sort of this in on insect parts you have these nicely defined borders they're very organic but they're also they add a lot of personality um to the look of the appendages so now i'm just using a clay brush to kind of dig in here to dig in these grooves and also to smooth out and fill in some of these areas on the top of the femur okay so how would i go about doing the same thing in zbrush well i've appended a poly mesh star going to convert it into a cube and use my options to set the basic subdivisions so that's the same thing i just did in zbrushcore that's not any different and again this is just one of many approaches i'm using the gizmo to kind of scale it and i'm going to use the z modeler brush to add a subdivision right there or add an edge loop so that's something you can only do in zbrush now what i'm doing is this little trick where you use the gizmo if you hold the control key and move your geometry with a gizmo it does this little trick where it duplicates the geometry and masks the original objects so i just did that twice to create this sort of n shape so i'm going to do a little bit of repositioning while the other parts are masked and then clear the mask and i'm going to use the auto groups feature to make each part of the mesh its own polygroup that's indicated by the color there so now i want to kind of show off a new feature in 2021.7 that's the home stage and target stage or the stager option and what this allows me to do is is i have my parts to my leg here at the center so i'm going to set that as my home stage and now i'm going to move it over here to the side scale it rotate it kind of put it roughly in the position i want it to be for when it's in the arm and i'm going to use that as my target stage so now i can switch between those two positions at any time while i'm working on the model so i can flip back and forth between the home stage where i can use like symmetry and stuff and also the position where i want to put that part of the leg so that's really cool all right so i've isolated the visibility of this one leg section and i'm using zmodeler i'm setting my move options to move with infinite depth which is going to make it easier to move the points of this model and uh infinite depth is based on the viewing angle so as i'm looking straight on i know it's moving both the vertex on my side and the vertex on the far side uh don't just makes modeling easier okay so i'm using zmodeler to select these phases here and i'm going to extrude them out using the qmesh feature so i know there's a lot of strange terminology with zbrush it takes a while to get used to but yeah it's just some fancy terminology to basically describe poly modeling tools once i get to a point where they're in pretty good shape i've regrouped them with the auto groups feature and using the gizmo to kind of just play with the scale and the position a little bit more but hopefully you're starting to see the various parts and how they're working together and now i'm actually moving these individual parts so the advantage of using poly groups in other words these different colored groups is that i can easily use the gizmo to instantly select one and mask the others so that's what i'm doing right now so i'm control clicking on the surface while the gizmo is active that masks the other part and now i can move this one part around and so i'm just flipping between masks and that kind of stuff i usually tell students that you know the key to mastering zbrush is mastering masks and polygroups cannot overstate how important understanding those concepts are so this part of the workflow is very similar to what i was doing in zbrushcore i've subdivided the mesh i still have the poly groups so i'm going to use the poly groups to hide the other parts so i can mask everything but this one part and now i'm just kind of using the move brush and the sculpting brushes to kind of make more of an organic shape and a little more faithful to my reference so you can see the reference on the side there the reference image uh the legs are folded up a little bit more but you can kind of see that the basic shape is kind of like an n and then i'm going to leave the last bit um a little the tarsy for a little bit later um so just like i did in zbrushcore i'm using the sculpting brushes to kind of define these ridges so back in zbrushcore taking this part of the leg here and i'm going to use the gizmo to move it it's kind of looking like a penguin right now i'm also going to duplicate this so that it's mirrored on the other side so i can start to work symmetrically and to do that i use the mirror and weld features now you can see i have that leg part on either side of the ring so now i'm going to use the move brushes and i've activated symmetry on the x-axis so i can use the move brushes to kind of start shaping these things now zbrushcore i'm using a very different workflow to create the other parts of the leg in this case what i'm doing is i'm using z-remesher to rebuild the topology so i can have fewer polygons and a topology that is a little bit easier to work with a lower res model but i've duplicated that one piece and now i'm smoothing it and this is going to be the next section of the leg sort of like the middle of the end and i'm going to use the gizmo to kind of position it so this is kind of a different approach than what i did in zbrush and now my zbrush ring is a little bit ahead of my zbrushcore ring for anyone who's keeping scores but that's fine as long as you can kind of see the similarities and the differences but i'm starting to shape this leg part and of course always bring it over reference to make sure i got something right but i'm making the basic part of that terrifying blade like uh object and at the moment i'm not going to worry about the spikes i'm going to i'm just focusing on the basic shape and you can see i'm kind of bending it down to conform to the ring the ring itself uh that geometry is just as a placeholder so i can keep in the shape and the scale in mind while at work so i'll be editing that later on to make it more like an actual wearable ring right now it's just standard geometry but i'm using the sculpting brushes to kind of define the shape here um and get some of those ridges in there it doesn't have to be super detailed but i want to suggest you know the the thing i like about this insect is the parts of it are very sculptural it's a very beautiful very beautiful looking parts to it so now i need to create the tarsi which is the segments at the very end of the leg so i duplicated the tibia so these are the segments i'm making right here and my reference so i duplicated the tibia and i just moved it down with the gizmo and i'm using the sculpting brushes to kind of delineate the various segments here so i'm using the demon standard brush as well as the inflate brush to make these segments so here in zbrush i've spent a bit more time refining the surfaces using the custom tw clay tubes brush which is a brush that tomas middlesbach has designed and it's really nice for refining forms but i'm just kind of shaping this here and i'm going to create this little divot at the tibia and this is the connection point for the tarsie which are these leg segments right here that you can see the reference so that's the tarsi and you can see how it kind of comes out here in this weird little joint really bizarre but that's what makes it cool so i'm going to store this current state in history so i control clicked on that orange marker on the undo history slider so this is something that's unique to zbrush and is not available in zbrushcore but since i have that history state stored i can work with the topology so i'm going to delete my higher levels of subdivision so that i can use an insert mesh brush to add a cube so this is just another way to add geometry there's always a dozen way to do things in zbrush this is just another option so used insert mesh to add a cube and now i'm going to delete those edge loops using the z modeler brush and scale this down and fit roughly where that divot is or where i think that divot is i lost all the detail my higher subdivision levels but i'm going to bring it back by using that stored history state so you can see that gray marker on the undo slider that's where that state is stored in history and i can use the project history button so what i'll do is i'll subdivide this mesh i'll clear the mask now that i've added my geometry subdivide it and then project history to get that detail back and i'll mask off that that added geometry so it doesn't get projected as well so that's a really nice feature and it just builds in more flexibility into the zbrush so you can see my detail is now back on those upper parts of the leg so back to zbrushcore let's add some spikes i'm going to turn on sculptris mode which allows me to interactively add tessellation just where i use the brushes so this is the sculptures mode option and it's really cool adds a lot of flexibility to zbrush and you can see i can control exactly how dense those areas are based on the brush properties so that's how i'm going to make these little spikes coming out and of course i need to use the move brush to kind of reposition them so you can see i have the other sub tools set to transparency so i can see through them which is going to be helpful as i kind of position these little spikes so back in zbrush i'm using the snake hook brush it's actually the same brush i was using to pull out the spikes in zbrushcore so same brush and i'm using it to pull out these spikes and i'm just being sort of careful about where i put them so you see i keep adding them and then undoing it and redoing it but you know that's because i'm just sorting it out so i got these big spikes and then in between them i got little spikes i brought back the visibility of the other parts and i've masked off that middle part uh so i could just use the move brush to do some refinement and then i'm just checking out my reference to check out these the terrifying spikes on the deathblade tibia here and so i like to have that on the screen next to me again pure rough is great for for having reference right there while you're working and so i'm just going through here and using the snake hook brush to pull these spikes out okay so once i have enough spikes i'm using the bend arc deformer as a way to bend get a nice accurate bend in all the leg parts at once and then i'm using the gizmo to move it so the bend arc deformer is actually built into the gizmo and there's a bunch of deformers available when you click on a little gear icon in the gizmo menu there's a whole bunch of deformers available there are deformers available also in zbrushcore using the same menu but there's more deformers available in zbrush than there are in zbrushcore so that's another difference to keep in mind the deformers are very useful i like them i love them for situations like this so now what i'm going to do is i'm going to mirror over this leg over the other side so i used mirror and weld to do this but of course i deleted my lower levels of subdivision in order to do that so one of the features that zbrush has that zbrushcore doesn't have is you can rebuild your subdivisions so the fact that i deleted all my lower levels of subdivision i can use the rebuild function to bring those subdivision back it's just another adds more flexibility to your overall workflow and that's another difference between zbrush zbrushcore don't have the rebuild function in zbrushcore so back in zbrushcore i'm going to create the antenna and the way i'm going to do this is i'm going to create just on one side then duplicate it and i'm going to use z spheres again so i've taken the z sphere and i've moved it down i'm going to stick it here in this little this little ditch that i carved in in the top of the head on the mantis so you can see i'm having a poke out of there and my solution for the antenna because i can't have them coming straight out of the head because those would be you know part of a big spike coming out of a ring is not usually a good idea especially when it's kind of like a hypodermic needle so instead i'm going to use the z spheres to kind of push these down here and have it conform to the outside of the ring which should allow me to create kind of this nice beaded pattern because the antenna i have these a lot of segments so i've converted it to geometry duplicated it using mirror and weld so i have antenna on both sides of the head turn on x symmetry and now i'm using the inflate brush to kind of create the segments for the antenna in this case you know these are going to be stylized so it's going to look kind of like this little beaded surface in zbrush i'm using a different approach but the result will be similar so i'm using i used a polygon ring and now i'm using z modeler to kind of symmetrically pull this geometry out and i'm just going to have it kind of arch over and then stick in to those little holes on the top of the head kind of like little pipes so it's kind of like plumbing i guess in a weird way so just kind of rearranging the vertices and then i'll do one last extrusion you can see they're stuck in the head now i'm going to subdivide that geometry and use the inflate brush to create segments similar to what i did before and i'm just kind of playing around with different settings in the inflate brush to see what's going to work best for creating this kind of like beaded pattern back in zbrushcore it's time to worry about the ring itself so i've used polygroups on the ring geometry so that i can mask just that central band on the outside of the ring and then i'm going to use the noise plug-in to add some procedural noise and so and just play with the noise a little bit and bake it into the surface then i'm going to fuse all of these parts together legs head ring and everything and dynamesh the surface so what dynamesh does is it creates a single mesh and fuses all the different parts together and now that i've done that i'm going to use the insert mesh brush as a way to add little blobs of digital clay so that it can help make printing a bit easier so i have so many undercuts and weird little surfaces and that kind of stuff so i'm just adding these little blobs of digital clay and then re-dynameshing i know that's a weird term but dynamesh just basically means it fuses everything into one surface so back in zbrush i've decided i want to add some detail to the eyes here so it's more obvious that these are the compound eyes that we associate with insects and these are a bit big for a mantis obviously but it's going to be on a ring so these are going to be very very small detail so i'm just using an inflate brush with the drag dot option to kind of just sketch these on here into this sort of pattern fairly quickly let's fast forward a little bit because that's repetitive and i'm finished here and i'm going to use this new adjust last feature in combination with uh undo history as a way to kind of fine-tune the strength of those strokes even though i made you know a few hundred strokes there since i stored a history state i could use this adjust last as a way to kind of play with the strength and you can see that's really useful when i look at the ring from far away at a more realistic scale i still want to be able to see that detail so that adjusts just last is really cool now i'm adding those little i'm just digging into the surface here to add the pseudo pupil which is those dark spots that you see on the eyes of mantis and as you can see i mean they're not real pupils they're an optical illusion but i'm just kind of trying to figure out exactly where to put them but they add so much personality and i think this is like one of the best features of the ring because you kind of zero in on those eyes and it looks like it has kind of an expression that's looking at you so i thought that was fun to put those in there so i'm jumping ahead in time here in the zbrush version so i'm in zbrush and i'm getting ready to fuse all these parts together using dynamesh just like i did in zbrushcore so now they're fused together and that way when i control drag and release you can see it rebuilds the surface and those little gaps are now are filled as as i use the inflate brush and the smooth brush i can seal them up a little bit better and then re-dynamesh the surface so that it recalculates and refuses it and i can keep refining the geometry that way that's something you can also do in zbrushcore you have more options for dynamesh when you're using zbrush but you can still use the same basic technique in zbrushcore so that's kind of handy and i'm going to use the exact same method i used in zbrushcore to add little blobs of digital clay so that i can fuse up some of those little gaps and those overhangs but you can see i'm adding a little bit of clay there and i'm going to inflate it and then use dynamesh to fuse those parts together and then smooth and refine and this will make it one you know the goal here is to make it one continuous surface that's going to be watertight so that i can actually print it all right one last time over in zbrushcore we're ready to uh prepare this for export so we can print it so go to 3d print hub plugin check the size ratios make sure it's the right size check the mesh volume make sure it's closed and there's no holes in it everything looks good so far i'm going to remain this duplicate of the subtool and i'm going to decimate it which is going to triangulate the surface and preserve the detail bringing the polygon count down to a point like 250 000 which should be good for printing software double check to make sure it's a closed volume it still is double check the size ratios everything is good and now it can export from zbrushcore as an stl and i'm ready to send it to my printing software i'll probably add some more details like i like the i facets on the zbrush version so i might do that for the zbrushcore version but i can use the same techniques to do that but overall a good demonstration of how you could make a ring in zbrushcore and now finally back to zbrush and doing a little bit of refinement kind of a similar process i'm going to use kitko metal quotes just to make sure that the surface is closed i'm going to check the size ratios make sure it's the right size i'm going to i usually do that a couple times and i'm going to export as an stl from zbrush and send it off to my printing software so there you have it i hope you've enjoyed this little battle between zbrushcore and zbrush you can see i added a little bit more detail to the eyes in the zbrushcore version using pretty much the same techniques the inflate brush and that kind of thing regardless i hope you've enjoyed this demonstration and you get a sense of the differences between core and zbrush it's kind of like the difference between a 25 foot sailboat and a luxury yacht they'll both take you to the same place but the yacht will probably get you there faster and at that point the analogy kind of breaks down if you're just starting out and you're testing the waters you want to dip your toe into zbrush my recommendation is try out zbrushcore first because you can rent it you can rent a license for like 10 bucks a month from pixel logic it's very inexpensive you can play around with it see how much you like it and if you decide that this is something that you want to incorporate into your jewelry or your object fabrication pipeline at a certain point you'll probably want to make the leap over into the main zbrush because it has so many powerful tools that we just scratched the surface on in this video over at zbjw this is the kind of thing we do we teach zbrush to people who want to use it in jewelry or fabrication i would like to point out that we will have a much longer extended more in-depth video series on the zbrush version of this ring coming out shortly for zbjw members as always click like and subscribe to see more videos from zbjw so we'll see in the future

Channel: Zbrush Jewelry Workshop

Views: 14,674

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Id: jaclPxBhcvo

Length: 33min 25sec (2005 seconds)

Published: Wed Sep 29 2021