Thanks Pixolator 
I really appreciate the layer duplicate, then flip method, combined with merge layers, to get that symmetry effect SO much quicker that redrawing or mirroring.
Thanks again, Pixolator!
Thanks for the great tutorial. It contained parts of the program that I haven’t gotten to play with and learn yet. You made the modeling and materials look so simple.
This tutorial really inspired me to experiment with materials. Here are some of my experiments:
Pic ID 6: Crusty Molten Ball
Pic ID 7: Verdigris Idol
[img]http://www2.zbrushcentral.com/zbc_uploads0/user_image-1001485679wma.jpg[/img]
I like verdigris and rust. 
That is totally cool Jaycephus! Any chance that you would post that material so we can see how you made it?
Wow, a year later, I get back to the verdigris:
Updated 1.51 Verdigris Idol:
This type of verdigris, like the Rusted Golden Idol effect, is more of a painted texture, and less of a material. In Pix’s version, three different materials are used. The effect is painted on in 2.5D, just like in Pix’s Rusted Golden Idol zscript.
STEP 1:
Start with a black/green base. Basically paint the entire object black or black/green. Use the simple brush and a low specular modified Basic Material and ZAdd OFF. Keep if off for the next step too. I used the same material Pixolator used for the first pass of rust, but I removed the noise and color bump. Select a slightly lighter green and splatter or dab it on in spots. Then change to the smudge brush, freehand stroke, ZAdd off, and modify the Color Blend in the Smudge Tool, and the RGB Intensity and draw size to get the smears looking right for the scale or size of object. Brush down the object in the paths that water is likely to flow. Verdigris is, after all, corrosion induced by moisture. Switch back to the simple brush, a splatter-type alpha, the Drag Rect or Spray Brush Stroke, and another slightly-lighter green (still relatively dark). Put a little of this color in and then switch back to the smudge tool and blend the new color in.
This may be good enough for the average Verdigris effect. You could stop here.
STEP 2:
Verdigris can also develop white powdering encrustations, which also disolve in rain and create greenish white smears. Use a splatter-alpha, like #23, or even just a single dot alpha, the Simple Brush, the Spray Stroke with Color set .01 or 0, Flow .1, and maybe a higher placement for more randomness. NO ZAdd yet. Set the color to white. Test Draw size, and spray a few specks here and there. Switch to the smudge tool again, and smear the specks down until you mainly just have whitish smears and no specks left.
STEP 3:
Now use a Basic material with color bump and noise. I used Pixolator’s second rust material. These materials will exist in your Material pallette after running the Rusted Golden Idol zscript. Use dot or splater-alpha, a Brush tool that will give you ‘3D’ effects, the Spray Brush stroke, and now use Zadd. Select a white color. The object is to add some white nodules of powder.
Now the verdigris is complete, but for an idol on which some sort of animal sacrifice may have been performed, we should add some more ‘stuff’. For ‘mud’ or ‘dirt’ or some other type of corrosion, use the same brush/material setup we just used for the white encrustations, and select other colors. Apply ‘randomly’.
For blood splatters, use alpha 23, the spray brush or drag rect stroke, and the simple brush with ZAdd OFF. Select a very dark red color, and add some random spots, speckles, etc. Switch to the smudge brush and smear half or more of the blood spots into the surface, creating smears down the sides in the likely paths that blood would flow. Leave some spots un-smeared.
Here is a try at adding blood to the floor. I can’t get around the blood interacting with the floor’s material, which has color bump.
:qu:
Is there an easy way to be able to paint better looking blood spots and other stains on the floor? :qu:
Thanks,
Sure!
Put the floor on a separate layer. After you’ve done everything else in your scene (including finalizing the lighting), make sure that Flatten Layers is turned on in the render palette (its default setting, so you probably don’t need to worry about that, and then Bake the floor layer. This will convert it to the Flat Color material, with material shading being baked into the color. Now there will be no color bump to worry about when you add the blood.
I tried baking before I asked the question! Really! But I must have had some setting wrong or been on the wrong layer and didn’t notice it, and I just assumed that if I baked a layer, I couldn’t paint on it. Tried it again and it worked, but I made a bloody mess of it: 
Hi
I would like to get it this material.
Anyone please could send me 
Fine thanks
mail: [email protected]
P.S. The script no running full in my ZB2 
and I woukd like to get it one version full this material for me use in 3DSMAX, it’s possible?
you can get this material by running the script.
But friend, in my ZB2 the script not running all, one error occours and not teminate metal corrosed
Anyone please talk to me, why this script have problems in ZB2?
Anyone, please post here this material for me
Thanks for all,
Druid®
The tutorial is included in the Help system that is built into ZBrush 2. You should run that version, since it is compatible with Z2.
You can also find out the exact settings to use to make the material yourself in the ZBrush 2 Practical Guide. This tutorial is one of the earlier chapters.
I also get this error when running the ZBrush 2 tutorial. The script stalls with this message:
ZScript Note: Interface item could not be found.
MATERIAL:MODIFIERS:Saturation
in
[ISet,MATERIAL:MODIFIERS:Saturation,1]
It’s something to do with loading the Colorizer1 material.
Loading the Colorizer1 material before running the script solves the problem.
Regards,
Mark
I ran the tutorial last night without difficulty. Are you telling ZBrush not to reinitialize the interface at the start of the script?
No, I’m doing everything it tells me to.
In other words, if I start Z2, choose the Help Topics, select the tutorial, run and initialize it stalls with the above message. 
If I start Z2, cancel the welcome screen, select the Colorizer1 material then go to Help Topics, select tutorial, run and initialize (yes, really) everything is OK.
Regards,
Mark
I should have said, I’m running:
Win98SE
AMD Athlon XP 1800+
736 RAM
Regards,
Mark
OK, now this tutorial running.
But, one problem, this model is not 3d and I can’t export model with material to .obj
I need so much the whole material in this Idol to me work in 3DSMAX.
Please i don’t know to export the complete material to 3dsmax, anyone help me.
Fine thanks
Druid®
Attached my actual work and the material idol that I necessary :rolleyes:
I am writing a tutorial/training paper for a group of recently converted 3D folk…starts off like this.
2D or not to 2D? That is the question that, for a while, was the predominant thought among most ZBrush newcomers. If you haven’t heard already, ZBrush isn’t like your typical 3D application. Funny thing is, it is not like your typical 2D application either. It is a bit of both (hence Z+Brush). Pixologic was able to combine both worlds in an extraordinary way.
Zbrush utilizes a revolutionary concept: The Pixol! Pixologic was able to pack more information into a standard pixel. Not only does it remember the RGB value and x/y position in the document window but it is also able to contain information such as depth or Z coordinate, orientation such as surface normal, and material properties. These ‘Smart Pixels’ are the key element which allow ZBrush to merge the world of 2D and 3D.
ZBrush has some of the typical functions of a 2D painting program such as drawing and paint brushes, blur and sharpen brushes, and even a smudge brush. The document window is more like a painting program environment as well. There are no cameras or view ports or anything like that. Its just a straight pixel based document window.
Then there is the 3D aspect of Zbrush. With the basic paint tools are various polygon based tools. Typical primitives like Sphere3D, Cylinder3D, Cube3D, Cone3D, Plane3D, and Ring3D. Then there are the ‘not-so-typical’ primitives like spiral3D, Helix3D, Sphereinder3D, and the revolutionary ZSphere. These 3D tools are polygon based and can be edited just like the 3D objects we are all used to with the exception of the Zsphere which we will get to later.
The model can only be considered 3D while in edit mode. Once you change tools, change layers, save the document, or take a ‘snapshot’ of the tool, the object is then converted from a polygon based object to pixols. This allows the object to be edited on a pixol based level and not a poly by poly level. The main benefit of this process is to not only allow you to use any of the other tools and brushes on the object but to also allow for amazing levels of color and modeling detail. This also allows Zbrush to work in a realtime rendering engine no matter how complex the scene can get (unlike 3D applications).
Even though the object has been converted to pixols, it is not lost. I repeat, it is NOT lost. The original still remains in the Tool Palette so don’t worry. Just draw the tool again and continue editing. Just remember, once you exit Edit mode, it is snapshot onto the canvas and converted to pixols. This is the major concept behind ZBrush’s object handling.
When it comes to saving files, Zbrush is more like a 2D application. It does not save 3D tools, and other various elements with the document like a 3D application. So in order to save your work, you must not only save the document of your work but you must also save any tools, brushes, alphas, and other elements created for the project. Although materials and lights are saved with the document, you may also want to save these for use in other projects.
Thats the start of it but the point is clear nontheless. This and other valuable info can be found in the help system within ZBrush. I suggest everyone go through this entire system before diving head first into Z. It is IMO though. But the education in paramount. Especially for the 3D thinking mind.
Good Luck
sounds good MTB