#Cavity mask zbrush 4 skin

Once the dinosaur is looking detailed enough, you can add bite marks, old scars, pitting, damage to horns and scuffs. It's easier to control where the smaller scales stop when they come up against a larger scale than trying it the other way around. With feet and hands, it can be a good idea to place down the larger scales before sculpting the smaller scales. Sculpt in the larger scales in that area and then use Morph Target and the Morph brush to bring back the small scales you smoothed out earlier. Even though you would create the smaller scales first, you can overlay larger scales without the smaller scales coming through by using the Smooth brush on the fine detail in areas such as the back or brow. Keeping larger scales and more specific design elements on separate layers means that you can easily backtrack. Sculpted form or detail can easily be removed from layers by using Morph Target and the Morph brush, which I cover in tip 7. Keeping general scales on one layer makes it easy to backtrack if need be. You can normally speed the application of small details up by using the DragRect stroke with different brushes and alphas, Projection Master or Spotlight. If you're working on a theropod, it's probably going to have scales - which can be time intensive, especially on the head, hands and feet. You can also turn off this layer when you are sculpting scales: with it hidden, the textures will distort less when applied.

It helps you keep the model topology evenly spread: neither overly dense in some areas nor stretched out in others, which can occur if you use the Pinch brush a lot. Keeping these separate means you can hide this layer when adding smaller details such as scales and skin: you'll get less stretching when applying fine detail in complex areas like the neck, when this layer is hidden and you're just viewing your form layer.ДЄgain, this should be done on not too high a subdivision level.

#Cavity mask zbrush 4 skin

Once you're happy with the dinosaur's form, start to add the larger skin folds and wrinkles. Work on the lowest subdivision level you're comfortable with. Focus on proportions, form, position, joint pivots and facial features. FormДЄs the name suggests, this layer is where the majority of the sculpting is done. After you've fi nished sculpting, hide the layer so the rigger has a model that's easier to work on. Posing the jaw means you can get inside the mouth with ease. If you don't want to use SubTool Master, you can use Stroke > Replay Last to apply the last stroke or movement you did to different SubTools. Create a Pose layer on the teeth and tongue SubTools. If the dinosaur is built with its mouth closed, open it with Transpose and the Transpose Master plug-in to move the teeth and tongue, so they fit perfectly into the jaw. Keep a layer for posing your dinosaur's mouth or eyes. For creatures, I break my layers down along these lines: Pose Use as few as possible to keep things straightforward and easily manageable. To keep layers efficient, a good working practice is to break your hierarchy into specific uses and to name each one simply. If you choose to use HD Geometry, you will be left with faint detail once a layer has been deleted or hidden. My preferred way of working is to subdivide the model to the highest level that I want to work on, then create the layers on that level.Д¬reating layers on a lower subdivision means that if you delete a layer, all the sculpted detail on higher subdivisions is still present on the model.

Materials need to be applied without a layer selected.

Layers hold PolyPaint, sculpting and masking information, but no material information. Layers are a useful feature to use when applied logically and carefully otherwise, they can become convoluted and increase the file size considerably. Always use this function when the model is being viewed with a Standard material. Use the Interactive Light, which can be found in the Zplugin palette, to get a real-time idea of how light will play over the surface.