Wiley ZBrush Studio Projects: Realistic Game Characters
Contents
1. Sculpting Tools and Workflow Figure 1 1 Planes define the sculpture by Carpeaux You face two COTE issues when you create realistic game characters tech nology and artistic ability Five years ago the biggest problem was technology We simply couldn t put enough polygons on the screen to get true realism Today artistic ability is the biggest factor limiting a 3D modeler s growth in the game industry The demand for realism increases with technological advances Today it is your abil ity to sculpt a face but in two years time realism may depend on understanding what happens to the palpebral ligament when your character is frightened Your artistic ability is the one constant in the equation of creating realistic characters whether you are painting in Photoshop or sculpting in ZBrush The Problem of Sculpting The central problem of sculpting in my view revolves around understanding the hierar chy of planes In a life model we are confronted with thousands of planes all calling for attention How do we know which planes to focus on and which to ignore at least for the moment Figure 1 1 shows a sculpture by Jean Baptiste Carpeaux of a woman smiling Even with its smooth beautiful surface the underlying planes of its construction still shine through 2 CHAPTER 1 SCULPTING TOOLS AND WORKFLOW Figure 1 2 Anatomy Tool s artist busts The key to working with planes is to move from the largest to t2. sa SMe 3 la bee 113 LETS ITE 1 44 T Wy Spier es E LI 5phereliruzh amp lphsEruns amp m x mizlsbr unt npnhsrs T Bul b ln Ti 1 SubTool Layers a Fiar kenmetry Dearie iry HE Ep Pravin Surface Deformation Morph Target Palypaint WW rap Texture Map Displacement hiap Hormal hap Dizplaywy Properties Unid Skin 4 CHAPTER 1 SCULPTING TOOLS AND WORKFLOW Figure 1 4 Side view with the S curve of the side of face e gt SBrush 3 5R PAGE WH AEH T PREG Sfhrameeh Doacunivedt Obje 508 Hemi FAHA Freee 1 392 1M B ER ial hi Zuul zolala Rgb Intensity 100 Z Intensity 51 Sub Ton Layers Geometry lemnmetey HO Previn Surface Deformation Lee kien Vizibility Polygraups argh Target ralvpaint iL Map Te burke hiap Displacement Map Hnrmal Hap Display Proper tine iL aen loin Rotate the model to a front view Set your Draw Size to 256 and pull the sides inward to flatten them Continue working over the surface of your model At a certain point you will suffer diminishing returns and form will be harder to create When that happens to you it s time to switch brushes Once you have your digital clay roughly in the shape of the head it is time to sculpt some of the internal forms such as the cheeks forehead eye area and mouth area We ll start this process with the Clay brush Click the Brush icon in the far left tray and
3. e Cont Ori Select Orientation To understand what these features do we should back up a bit and return to the sphere of influence from the Depth section When you click on the surface of the model ZBrush samples the polygons within its sphere of influence It then determines the orientation of that sphere by averaging out the surface normal within its sampled radius However the job is not done there ZBrush has a choice It can either continually resample the orienta tion or lock it down and drag that through your model Figure 1 17 illustrates the effect of each option Once Ori Once Ori First point clicked b 1 Picks continuously Cont Ori UNPACKING OUR TOOLKIT E 17 The Once Ori option see Figure 1 18 will lock down the orientation to the area of the model on which you first clicked The selected angle will be used for the rest of your brush stroke The Trim Adaptive brush uses this feature to great effect Figure 1 18 In fact Trim Dynamic and Trim Adaptive provide the clearest The Once Ori option example of the steering differences Once Ori is the defining charac teristic of the Trim Adaptive brush Set Cont Ori on and you essen tially have the Trim Dynamic brush Selected Orientation is different In this feature you have to click the arrow in the center and move it around to the angle you want to enforce You can also click the arrow and drag it to a specific area of your model to choose exactly th
4. Gradicen T mn S late Texture Map Ez Ewitchtolpr Bisplacenienh hap Hormal Map Display Properties Unified Skim Trim Dynamic is an extension of the Clay brush Its algorithm goes further than the Clay brush however and allows you to build up planes with a loose freehand stroke that cannot be achieved any other way It is an essential tool in your toolkit 6 To create precise forms we will need a sculpting knife We can use the Standard brush for this Set Draw Size to somewhere around 10 and press Alt while you carve into the model When you do this it s important to proceed with caution and maybe even to use multiple strokes to carve in the surface As always it s very important to smooth out any irregularities as soon as you see them When you are finished your model should resemble Figure 1 7 The Standard brush is one of the oldest brushes in ZBrush and still considered by many art ists to be the workhorse of all the brushes You can also try a variation of the Standard brush called the Dam_Standard brush named after the artist who created it Damien Canderle You can access the Dam_Standard brush from Lightbox OUR SCULPTING TOOLKIT 7 Figure 1 7 z Brush 2 5R9 ZCEQ VEFIHU AEHO APRPU Brush Document Dbi F527 emk 661451 Frec 1063 Defaultzsceipt aM mM a WR om mE SEN 3 am rose gt Results after using Ta Ss TA PEN yok the Standard brush Load Tool inre g Tinigeier t Export Proj
5. as needed by choosing Tool gt Geometry gt Divide In fact with the newer topology independent brushes such as Clay we can begin to increase our polygon count earlier in the sculpting process without worry ing about muddy form 5 Eventually your sculpt will have a lot of the form you want but it will be a little messy This is where Trim Dynamic comes in Select Trim Dynamic from the Brush palette and use it the same way you use the Clay brush Notice how the form it cre ates is very clean and planar Continue developing the form switching between the Clay brush and Trim Dynamic When you need to add more form use the Clay brush Then immediately switch to Trim Dynamic and create the necessary planes Figure 1 6 shows you how far you should take your work with Trim Dynamic Again don t take your model too far We will keep looking at new tools for each stage 6 E CHAPTER 1 SCULPTING TOOLS AND WORKFLOW Figure 1 6 d Brush 3 583 ZCEQ VFEIH AFEHO PREPG Brush Document Dbi F328 emk 3194102 Freee 1200 Defaultzsceipt a Me a ri ab 7 Results after using the Trim Dynamic brush Tool Load Tool inre As Tinigpeier t Export Orie Quick Projection Light Enx hs hasten Clone Hake PolyMesh2b intensity TF Chone All Sub Teas Polyiphere_1 4f R Ee EET d sipi aEr ush 5ubTool Layers Geometry Geometry HE Previaur Toor Face Deformation Masking visibility Palygroups Morph Target Polypaint Leadiant
6. select the Clay brush Press Alt and dig into the eye area to create the eye cavities Continue sculpting into the side of the nose top of the nose and down into the mouth Release Alt when you want to build the form back up Add a little bit of clay in the mouth area but stay away from defining the lips At this point you should be more focused on sculpting the barrel shape of the teeth When done your model should look like Figure 1 5 Don t try to take it much further than that as we will use other tools to refine the surface The Clay brush is used mostly to add volume and roughly sketch in form OUR SCULPTING TOOLKIT E 5 Figure 1 5 Fai eT Deacunivedt Obj 7515 Hemi 49435 Free Tia gl 1 T Results after using the Clay brush Tool ETET E Tool awe As grt po T Siculi bi Zuul o TT TIT Export k h x zo Rgb Intensity 180 Z Intensity 50 Clone Make PalyHeshisp Gone All su ols Paly5phere 1 48 Sub Ton Layers Geometry brometry HO Previr Surface Deformation Masking Vizibility Polygroups arph Target Polypalnt Ww Map Tax bur hiap Displacement Map Amal Hap Display Proper tion Unificd Slim The Clay brush is an important part of our sculpting workflow because of its unique algo rithm ZBrush 4 has added newer brushes that build upon this and give us greater control but the Clay brush remains an important part of the process in the early stages 4 Make sure to add geometry to your model
7. smoothing out Preserve Edge 30 5964 the other areas of the model Working with Masks Masks are essential for controlling effect on specific areas of your model You can work with masks through the Tool Masking subpalette or by using the hotkeys as follows To create a mask press Ctrl LMB and click and drag on the surface To erase part of a mask press Ctrl Alt LMB and click and drag on the surface To clear a mask press Ctrl LMB and click and drag outside of the model To invert a mask press Ctrl LMB and click outside of the model To blur a mask press Ctrl LMB and click on the model If you want to make a lasso selection of a mask or drag out a selection rectangle to mask off an area then just select the MaskLasso or the MaskRect brush in the Brush pop up The Road Ahead While unpacking our toolkit we have looked at a few features that I want to keep on your radar as we continue learning about ZBrush Once you understand how ZBrush s brush system works you can create your own Rake brush custom stitch brushes and a whole host of other customized tools THE ROAD AHEAD E 19 It s important to keep in mind that learning an art form is a lot like learning a new language You cannot rush it Your brain will change only so fast and you can retain only so much information Be patient with yourself Learn to turn frustration into suc cess not by overcoming it but by outlasting it Frustration is part of
8. the learning process Whatever you do though don t give in
9. your brush shows the brush size but it doesn t indicate the real spherical nature of a brush All ere the variations and modifications of the brush take place within Sa ia ME this sphere of activity As you brush along the model this sphere is dragged along the surface In thin areas of your model it will affect the other side as well We Gravity Strength 0 Depth either raises this sphere above or lowers it below the I surface of your model as shown in Figure 1 13 Now I know what you are thinking You re thinking Isn t that what Z Intensity does Doesn t Z Intensity decide how far up or down my brush pushes the sur face of the model Well in short no Z Intensity is something else entirely Think about it this way Depth DrawSize defines the outer limits of your brush s intensity DrawSize defines how large an area your brush will affect Depth defines where along the normal that area will intersect with your model as well as the maxi mum distance the brush will push or pull the form Imbed Depth hask UNPACKING OUR TOOLKIT E 13 Z Intensity controls how fast you will reach those limits If you set Z Intensity to 100 then your brush will be at full intensity right from the start If you set Z Intensity to 5 then it will take some time to reach full intensity and you can be more subtle about it A lot of other factors determine the maximum distance the brush will push or pull the form such as Alphas Tablet P
10. a road Driving through Kansas there isn t much need for a robust suspension system Except for the occasional pot hole it s a pretty flat state However going four wheeling in Moab Utah is a whole different story Sample Radius 7 Sample Radius 1 Sample Radius 2 UNPACKING OUR TOOLKIT E 15 The heart of Samples is Sample Radius see Figure 1 16 This is the shock absorber of the entire system In simple terms Sample Radius determines whether your brush s response to the road is light and snappy to the road or whether it bulldozes through any surface variation In more specific terms Sample Radius determines how much of the area within your brush s sphere of influence will be used to calculate the orientation of your brush By default Sample Radius should be set to provide a quick but not hypersensitive response to your surface Think Porsche For most brushes this is 75 but this does vary As you decrease this number ZBrush considers a smaller and smaller percentage of the surface area This makes it much more responsive to changes in the surface direction and makes for a very bumpy ride Another way to think about this is with a boat analogy A smaller boat has a smaller area of the water s surface to sample from so it is more sensitive to waves and swells A cruise ship on the other hand has a vastly larger area of the water s surface to sample from and is therefore much more stable However a cruise shi
11. at orienta tion The effects of this brush are the defining characteristic of the Trim Front brush Figure 1 19 illustrates the effect of the front brush used at several points along the model Figure 1 19 The effects of Selected Ori Once Ori Cont Ori 18 E CHAPTER 1 SCULPTING TOOLS AND WORKFLOW Figure 1 20 Interface BrushMod Figure 1 21 Preserve Edge Dam_ Standard Brush and Brush Modifier The Dam_Standard brush is amazingly smooth and cuts through your model as if it were butter The secret of its power comes in the Brush Modifiers Brush Modifier slider This slider behaves differently for each brush but for the Standard brush it works to com bine either the Pinch brush or the Magnify brush The Dam_Standard brush combines the Pinch brush with the Standard brush by setting the slider to 32 The effect is to bring more polygons into the valley while you are sculpting it and create Brush Modifier 32 smoother cleaner lines Figure 1 20 illustrates the location of this feature in the Brush palette H_Polish Brush and Preserve Edge The H_Polish brush makes great use of the new Preserve Edge feature in the Brush gt Samples palette shown in Figure 1 21 The goal of Preserve Edge is to do exactly what it says preserve edges A great way to see the difference is to run the M_Polish brush over an edge and then repeat that same stroke with the H_Polish brush H_Polish will work to keep hard edges while still
12. e surface of your model you may want to smooth out some areas and refine the surface The Polish brushes are great tools to do this I like to use H_Polish because it respects hard edges very well This allows me to be looser and more freehand without worrying about messing up the clean edge work I created earlier Consider H_Polish a finishing tool The form has to be in place for this brush to do its job right Use Figure 1 10 as your guide he finishing tools of ZBrush You Figure 1 10 ZErush z 3R1 CED W IHD AFH3 PRHEI 2Brueh Gocurmernt Obje 7907 ram p 7304 493 Freep 1004 Del aui arpl i d Results after using the Polish brush nrnh Target Palypaint Wt ip I2sxture ap Displacenient Map aornisl Lap Dieplay Prupur lise Unpacking Our Toolkit Let s review our toolkit and make sure that you understand what is in it and what each tool is good for This section is the largest lecture based section of the book There will be a lot of reference style descriptions Use this section as you would any reference book and come back to it when you need an explanation of things like ZBrush s Depth setting Move brush Our first tool it creates the largest planes and biggest form changes Clay brush Blocks in areas of the model and adds clay to the model that you will refine with other brushes 10 E CHAPTER 1 SCULPTING TOOLS AND WORKFLOW Figure 1 11 Brush system spectrum Trim Dynamic Creates the pri
13. ection Light Boo cu Duick 3M ZR Hrgb sj aub laster 4 MELLE LL Wosa Seda Rotate Rgb intensity 100 Intensity 51 Ha Clone Make PolyHeship Clone All Sub EE Polyiphere_1 4f SubTool Layers Geometry Genre try HD Previcur Durt ane Dafornmation Masking visibility Palygroups Morph Target Polypaint UW biag Texture Fiap Bisplacenienh bap Hormal Hap Display Properties Unified Skim 7 Now we should have a fairly good approximation of the face We should have clear planes but the separation of planes may not be very precise All in all our model should look like a blurry but planar version of what we want To create more precise breaks in the form we use Trim Adaptive Click on the side plane of the nose and use Trim Adaptive to create a consistent plane With Trim Adaptive you have to be careful where you start your brush stroke The brush will take the orientation of the first place you click and extend that orientation through your model To get the most out of Trim Adaptive repeat the stroke while pressing Alt and the brush will lift areas of the surface as well Using Trim Adaptive and Trim Dynamic and experimenting with Trim Front should get your sculpt to the level of Figure 1 8 8 Masks allow us to isolate one part of the model and keep it safe from our brush Press and hold Ctrl and brush on the general shape of the ear Then choose Tool gt Masking gt Inverse to invert this mask Using the Mo
14. er to be a sculptor s workflow This workflow should help you organize complexity create your own hierarchy of planes and sculpt realistic characters faster than ever before Project Sculpting a Human Face To really get a sense of how tools work together we will look at them in the context of a project In this case we will sculpt a human face and look at each tool in its turn 1 Our first goal is to establish the overall shape of a head with the Move brush so that we can use other brushes to create the internal forms Start with a PolySphere on the canvas see Figure 1 3 Make sure Symmetry is on 2 Set Draw Size to 200 to increase the size of your brush Click on the bottom half of the PolySphere and drag downward to form the jaw and lower face Lower your Draw Size to somewhere around 50 and pull the nose outward and to the left Then push the eye socket inward toward the right Note the S shaped curve in Figure 1 4 Figure 1 3 rush 3 589 z2CEQ MirHU X AFH T PERLE PArush Dorurment Og x 63919 Hence 400412 Freep i723 Menus GeFaultesoript a I le in En m a E A PolySphere Toler s nl P d TT I ier Marke aber hui kar Prefers inca L ae as 3 Taal ae on the canvas Tool Load Tool Sane AS Y 7 Inport Export Projection Light Box B tu Ick 7 ee M rk a Mrab Rab zadd zsub ater zg Shetek Edt Dg rm y Jr Hone Make FolyrieshtO Ma igh Intensity TUN e intensity 25 eee Hone All Sub tools
15. he smallest You the artist must create inside of your own brain a 3D model that has multiple levels of resolu tion On level 1 it should have the most basic and simplistic planes On level 5 it might have planes small enough to describe the caruncula of the eye The sculpture by Carpeaux reveals that the side of the nose is a plane the lips have several planes and even the round surface of the eye can be distilled into a few essential planes As we get more detailed with our model though we focus on smaller and smaller planes In Figure 1 2 you see Anatomy Tool s artist busts which helps break down the dif ferent stages of sculpting a face into easy to digest forms The human body is simply too complex to tackle everything at once Creating a hierarchy of planes will help you solve only the problems you need to at each stage of your sculpt Finding these planes and organizing them is unfortunately a task through which I can only guide you You must enter the dark woods by yourself and find your own way through the endless variations of form that come before you I will do my best to provide a map arm you with the necessary tools and send you on your way with my best advice OUR SCULPTING TOOLKIT B 3 Our Sculpting Toolkit There are many features in ZBrush and many ways to work with the application The goal of this book is to guide you in creating realistic game characters and so in this section I will present what I consid
16. ions can create both hard and soft forms The Clay brush is a good example of this At the center of these two axes are core features of the sculpting system features like Zadd Zsub DrawSize and Z Intensity These features are the same no matter what you are sculpting Between the brush types and the core features are all the brush modifiers which are as basic as Alphas and Stroke Type and as specific as BackTrack Samples Depth Imbed and Tablet Pressure These modifiers can have a profound effect on your brush and com pletely alter its behavior As we look at each part of the brush system try to place each feature somewhere in the spectrum The Brush Algorithm At the core of every brush is the algorithm that it uses to affect the surface The algorithm is the 1s and Os the very foundation of a brush s behavior and Pixologic excels in finding and exploiting new algorithms We call this algorithm the brush type ZBrush contains close to a hundred brushes but most of them are derivatives of other brushes For example the Polish brushes appear to be derived from the Flatten brush Some brushes are different by just a few settings Some brushes are a variation on the algorithm of the brush type itself The Magnify and the Inflate brushes are good examples of variations on an algorithm while brushes like the Rake brush use the same algorithm but have preset modifications that alter its behavior First we ll unpack the Clay brush and
17. mary planes of your model and keeps the surface clean and structured Trim Adaptive Creates and extends planes It is the wooden sculpting tool you would use to enforce a strong plane and you may even cut into the model with it Dam_Standard and Standard brushes These are great knifes By setting DrawSize low you can cut thin lines into the model Masks Isolate areas of the model to help you when you are making large changes or even small adjustments In ZBrush 4 you have several different masking options To change your masking type simply select it in the Brush pop up The Polish brushes Create refined surfaces and blend structured planes into each other The Sculpting Spectrum The entire brush system in ZBrush can be divided into four zones see Figure 1 11 These zones correspond to your approach toward sculpting and what you are actually sculpting Are you sculpting loosely or do you need more refined control Are you sculpting soft forms or hard forms UNPACKING OUR TOOLKIT E 11 Along the outside of this spectrum are the brush types Every brush was created to fit a specific need Some brushes like the Blob brush can create amazingly random concrete surfaces with just a few simple modifications Other brushes like the Planar brushes create hard edged and mechanical details but require some complicated brush modifications to work Some brushes blend magically between these two opposites and with only a few mod ificat
18. p can t be turned on a dime as a smaller boat can The trade off is the same in ZBrush stability for maneuverability The other features that influence the brush s stability and maneuvering are as follows Stabilize Orientation Stabilize Direction Constant Sample OnSurface Preserve Edge Buildup All these features work together to give you the ride you need for the form you are try ing to create When adjusting them it is useful to keep in mind that Sample Radius is the main influence Everything else works to help Sample Radius do its job Trim Adaptive Trim Adaptive is built to give us a more controlled experience If used freehand style it can get a little too aggressive If used in a controlled manner though it creates clean planes that would be very hard to create any other way At the core of its control is a fea ture in ZBrush that hasn t received a lot of attention orientation 16 E CHAPTER 1 SCULPTING TOOLS AND WORKFLOW Figure 1 17 The effect of the Picker palette options Orientation Orientation is the steering system in ZBrush Often you aren t even aware of it and that s the way it should be We don t think about the steering column once we are in our car We just put the key in and go Sometimes though we need to take full control of our steering wheel and we do this in the Picker palette The three buttons that we are concerned about in the Picker palette are as follows e Once Ori
19. ressure Zadd Zsub Samples and Stroke Type Depth though could be considered tiber Depth It controls where the center of your brush s power is coming from A good example of the use of Depth is in the Skin brush Its depth is set to 74 In combination with the Alpha and small circular strokes the Skin brush will lay down an amazingly detailed skin texture without destroying your form or adding too much new volume Try lowering and raising the Depth value to understand the effect better If Depth is ber Depth Depth Mask is the squash and stretch of your brush s outer limits While DrawSize controls the circumference of your brush Depth Mask allows you to narrow in on a specific slice of the sphere for your brush to take effect A great example of Depth Mask is the PlanarCutThin brush Try setting Depth to 14 and turning off MRGB to get some interesting results This brush also does wonders for creating rock striations when used with the Spray stroke So how does Depth relate to the Clay brush It determines how far outward or inward the Clay brush will push form To see it in action set Brush Depth Imbed to 100 and make one stroke Set it to 3 and make another stroke In general I leave Imbed at default settings unless I am creating softer forms In that case I set Imbed to 3 If you feel the need to increase it above 10 consider using the Move brush instead Figure 1 14 Depth Mask limits yy mbedo your effect toa Lin
20. see what makes this brush so special for block ing in form Clay Brush The Clay brush was definitely created to work with soft surfaces in a freehand way However with a little finesse it can also block out harder surface objects The algorithm of the Clay brush was an important step toward sculpting brushes that are topology independent that is they behave the same regardless of whether your model is an organized mesh or decimated scan data Its specific behavior is such that it fills up the lowest areas of the surface before it affects the higher areas of the surface This allows you to quickly build up form without worrying about all the interpenetration and arti facting that the Standard brush might introduce An important part of the Clay brush is the Depth Imbed setting Let s take a good look at Depth to be sure you have a solid understanding of how to use it 12 E CHAPTER 1 SCULPTING TOOLS AND WORKFLOW Figure 1 12 The Depth subpalette Figure 1 13 The effects of Depth Depth The Depth feature was introduced in ZBrush 3 5r3 It is located in the Brush Depth sub palette see Figure 1 12 and is a change from ZBrush 3 1 where Brush Brush Modifier was sometimes used for this purpose Now Depth is a major new feature that affects the entire spectrum of your brush s behavior What does Depth do To understand it better you should be clear that a brush in ZBrush is a 3D sphere The red circle that encompasses
21. us cross section of your model Im bed 0 E y Hs J ssn ELLA zin ish Dep th Distana a Gravity Strength fh uH Area of influence Depth OuterDepth 2 InnerDepth 2 14 E CHAPTER 1 SCULPTING TOOLS AND WORKFLOW S ammndles Buildup ConstSample OnSurface Samples Radius 0 11 Mornnal 1 Posi Preserve Edge 1 Stabilize Orientation Stabilize Direction 0 Ortho Figure 1 15 Samples subpalette Figure 1 16 The sampled area Trim Dynamic Trim Dynamic is an extension of the Clay brush s algorithm it allows you to work free hand while creating both hard and soft surfaces To create softer surfaces you must lower the DrawSize and make smaller and smaller plane changes To work with hard surfaces you can use this brush to establish broad strokes and major planes and then switch over to Trim Adaptive for more localized control The Trim Dynamic brush gives you an opportunity to understand how ZBrush responds to the surface of your model By default most brushes are designed to feel light and snappy in your hands Yes designed The experience each brush gives you when you brush along the surface of your model is something that is as designed as the car you drive Samples Speaking of cars if the brush system is a car Samples is part of the suspension mecha nism Samples control how your brush responds to the surface of your model see Figure 1 15 Think about your model s surface as if it were
22. ve brush pull out the backs of the ear and set up the simple planes as shown in Figure 1 9 8 CHAPTER 1 SCULPTING TOOLS AND WORKFLOW Figure 1 8 ad rush Wi HQ AFH I PR HE zBr Jer umet Jl 2 20 hemp 6174416 Frew p 1102 D k IND WR Results after using various Trim brushes Loud Toot Saw Ar Irpenit Expnrt us s irngbh H PALTT a1 p qm slate Rub Intensity td Z Intensity Fl T Clone Make Polystone Clone All Suh E head trim sub ronl Layors Ceamcbriy Gemnekry HO Brewer Surface a Deformation E a zs Masking ial 3 Ta Wisibility Bolygeoupes Gradiant Morph Target ut Polypaint Lg pap witch olor LESS Map Dunplacerneent hiap Hormal Map DicHay Properties Figure 1 9 2 gt MArush 3 5R3 2CEQ WTIHC AFH T PUEEHE Thrush Dururnmeni Olip FEF Meme FHO 9S1 Fres p 1815 3 3 all iF E Using masks to establish the ear E 4n ust ene W ij wer Lith klar Te eee aree reterenice ene r trake ETE s Tool Load Tool tave s mpr t Xpo x i Hegh H Import Export Projection Light Box F hacker y E zd E ede Bil Lbuenuiby RU Cane Make Polyteshcil gt Clor All SubT head brim 4a SinplzErazh Flare ETE Layers Geometry Geometry HD n Preview Surface Deformation z Eu o T i EIE Polygroups Gradsent Scala blurpli Target Ca F Bolypaimt in Uv Map Texbire Map is placement Fap kormeal Hap lay Propertits UNPACKING OUR TOOLKIT E 9 9 After you have worked th
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