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Getting Started with Sculptris Pro
This 3 part Workshop hosted by Paul Gaboury will get you up and running on everything Sculptris Pro, from UI and usage, customization, and combining it with other ZBrush features.
Getting Started with...Using Tessimate
Learn to manipulate topology to your needs with the Tessimate feature. Your host Paul will show multiple examples of how to use this powerful feature with the addition of explaining the difference between Tessimate and Decimate.
Using TessimateThe Basics of PolyGroupIt
In this 2 part Workshop, Paul Gaboury will give you a full run down of how to use PolyGroupIt, then in part 2 we'll show you how PolyPaint and PolyGroupIt can be utilized together.
The Basics of...Using Elastic & Liquid Curve Mode
This Lesson will show multiple Curve Mode examples including IMM Curves, the elastic option, the liquid option, Lock Start, Lock End, Rotate Curve, and Smooth Curve. Now let's go make some Curves!
Using Elastic &...Discovering Groups by Normals
Creating PolyGroups can be very useful when modeling and or sculpting in ZBrush. In this Lesson, we'll demonstrate how to create new PolyGroups on a hard surface model using it's normals and edge degrees.
Discovering Groups by...Deformers
A Workshop focused on the powerful wide spectrum of ZBrush's Deformers. Buckle in as your host Solomon Blair takes you through each Deformer and their abilities.
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26 Favorites and 44Followers.
Guys, again, thank you very much for all the kind words, that really means a lot to me!!! This one didn't made it to the profiling machine... It's available on my shapeways shop as a 3d print: Best regards, Selwy

  • edjennings
    This is so amazing! I like it man!



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90 Favorites and 76Followers.
sir you just destroyed the system, brilliant!

  • nebular
    Haha! Very interesting! Can you explain the pont 4 more? How the 'carving' looks like?




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26 Favorites and 44Followers.
From a ZBrush model to a wood sculpture
Hey Guys, I would like to share some information about a production process I have developed this year, together with a local wood carving company (3DWood). We already use this production pipeline daily now, because it has so many advantages; and ZBrush plays a major role! (how could it be otherwise ) I'm going to explain the steps with the help of two models that are available on my website: 1. Digital Sculpting ZBrush allows me to create and sculpt the model entirely on the computer; from concept to final sculpture. I'm able to change things based on client's feedback quickly, with no need of making laborious changes on a clay model for instance. What I have to keep in mind is, that the outcome will be a physical object and in this case, an object made out of wood. As you already know for sure, wood consists of fibers that growth in a certain direction. Therefore it's necessary to avoid thin parts that go across that wood grain. They break easily. When I work with different subtools, I always make sure that the meshes are closed and watertight surfaces and intersecting with each other. You can do that, by starting with a ZBrush primitive for your basemesh and turn it into a dynamesh. A dynamesh will always force a closed surface by closing holes automatically. 2. Preparing for 3D Printing When I'm done with sculpting, I make use of the "decimation master" plug-in and reduce the polycount. A super-highres mesh isn't necessary for printing. Most of the time I merge all subtool before I export the geometry as an STL file with the "3D Print Exporter" plug-in. I use Magics RP from Materialize to combine all shells to a single shell and to fix mesh errors, in case the model has any. Removing shells is necessary for giving your sculpture a wall thickness later on. You don't have to use an external application for merging shells. Merge all subtools to a single subtool in ZBrush and turn the whole thing into a higres dynamesh (with the project function enabled to keep your details). By doing that, you can get rid of the polygons at the inside of your model. In Magics RP I define a wall-thickness and perforate the sculpture, so the dispensable powder can be removed after printing. 3. Prototype and Production printing For production on the pantograph (see point 4 below) you need to work on a reference model that is at least twice as big as the final wood figurine. That's necessary for transferring all the small details to the wood and makes it a lot easier to work with, because you must trace the surface by hand on the machine later on. But before I order the big printout for production, I go for a small version, ideally the size the final wood sculptures will be, to see how the model looks as a physical object. Whenever I feel something doesn't look right, I go back to ZBrush and try to fix it (composition, balance...) I normally use Shapeways ( for printing. They have Z-Corp printers for a printout in Sandstone (works great for all prototype models) and big laser sinter machines for printing a very strong nylon/plastic. That's exactly what I need for the pantograph. 4. Production on the Pantograph (3d profiling machine) I fill the double sized plastic 3D printout with a special resin and mount it on a metal plate. Everything has to be assembled very strong to prevent it from bending or changing its position during tracing on the machine. The tracing itself isn't an automated process yet; you still have to do it by hand. And you have to be super careful. Oh boy, in a moment of carelessness you can ruin a whole row of figures! You start with some bigger milling heads for rough machining and switch to the smaller once for detailing. I use maple wood for my work. It doesn't change its color over the years and allow very fine details. 5. Finishing and Refining The figures that come straight from the pantograph look great but aren't finished yet. It needs a lot of sandpaper work to smooth the surface. I add details with my set of small carving knifes and boost the once that disappear during milling. Finally I paint the parts I want to be painted and add a thin layer of wax that prevents the wood from getting dirty. 6. The final product If you keep an eye on some production restrictions, (wood as a living material, the dimensions the pantograph allows, avoiding spots that are difficult to reach with the milling heads) the possibilities are endless! For more information, please feel free to visit: Kind regards, Selwy

  • Klicek
    sir you just destroyed the system, brilliant!
  • robinalien
    Great work, thank you for sharing! I wonder how much each sculpture costs you in the end. It is a great way to use the technology.
  • andrebarclay
    What kind of wod did you use and how did you sand souch fine detail?