The large user community that Zbrush has had since its early days mean a ton of resources exist for the program, too. Features exclusive to this software include noise sculpting, sculpting layers, and some key tools involved in re-topographizing. Zbrush is capable of manipulating models with a polycount of 20,000,000 - making it ideal for detailed, high-poly work (check out these examples to get a good picture!) The system of customizable brushes allows powerful control that room for creativity. When 3D artists need to do some heavy sculpting, it’s definitely the tool of choice. ProsĪs mentioned earlier, Zbrush is often cited as being the first on the list for sculpting. Over the past sixteen years, it’s come a long way from its meager demo to industry-kingpin status. While its origin story isn’t riveting (its demo debuted in 1999, it was Best of Show at the 2000 MacWorld Expo, and it’s been successful ever since), it was created by someone with the dope nickname “the Pixolator.” There is clearly a lot of 3D modeling software out there, but unlike many newer 3D design tools, this one has the bonus of having been around the block a few times. Zbrush was one of the early game changers in 3D design. This is the software to use if you’ve got solid concept art to work with. Unlike many other 3D modeling software packages, Zbrush is streamlined for purely artistic sculpting. These building blocks are part of the reason why Zbrush is specifically lauded for its artistic functionality. Much like pixels, these data points have X coordinates, Y coordinates, and color information - but since they’re in 3D, they’ve also got a Z coordinate, and material information too. It’s main claim to fame? It has special building blocks called pixols. Zbrush is 3D design tool that’s all about the brushes. “Undead Nightingale” by Zbrush user herocus
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