The Mesh Insert becomes significantly more powerful with the introduction of DynaMesh. For those not already familiar with this feature, Mesh Insert is possible using the MeshInsert brushes found in the brush palette. These brushes are dependent upon settings in the Brush >> Modifiers sub-palette. In Previous versions of ZBrush, the main use of Mesh Insert was to insert one 3D Tool into another Tool. There was, however a restriction of not being able to work subdivision level. There was also a certain amount of geometry separation when certain actions where performed. Now thanks to the fact that DynaMesh doesn’t use subdivision levels, the Mesh Insert functions and brushes will give you a large freedom of creativity. Several changes and improvements have been added to these functions for an improved library of new Insert brushes.
Ghost Transparency on Insert
If Ghost Transparency, located in the Transform palette is enabled for the mesh that is being inserted by an Insert brush, then the recipient mesh will also switch to a transparency mode. This lets you visualize how far your Insert brush/mesh penetrates into the depth of the model. This mode comes in very handy when inserting negative meshes into a DynaMesh. The head inserted in the body which automatically switch to Ghost transparency. Model by Magdalena Dadela. Note:Press the ALT key while inserting a mesh to create a "negative" mesh, which will be removed when combined with a DynaMesh. Read the DynaMesh section for more information.
Changing the Mesh Insert Location on Creation
By pressing the space bar while inserting a mesh, you will be able to move its location left/right and up/down relative to your screen rather than relative to the model’s surface normals.
To perform this operation:
Select the InsertCylinder brush and drag to insert the cylinder onto the selected mesh. Without releasing the mouse button, press and hold the space bar.
Move your cursor to move the inserted cylinder relative to the screen/canvas.
Release the space bar to set the new location of the inserted cylinder.
Release the mouse button to finalize the insertion location.
Two hands inserted on the mesh then moved by pressing and holding the space bar. Model by Mariano Steiner.
Another way to manipulate a mesh insertion is to mask all parts of the mesh except for the inserted element. To demonstrate how to mask all parts of the mesh except for the previously inserted one, follow the steps below:
(This example inserts a cylinder. You could use any object, however.)
Load the DynaMesh064.ZPR project found in the LightBox Project menu. If you are asked to save your work, do so if you wish to return to your current session later.
With the InsertCylinder brush selected. Draw a cylinder onto the sphere.
Turn on PolyFrame mode to see that the cylinder just drawn will have a different PolyGroup than the sphere it was drawn onto.
Switch into Move Mode. Hold CTRL and click on the cylinder. You will see that everything but the cylinder becomes masked.
Move, Scale and Rotate your cylinder to any part of the sphere. (Note: This will use the TransPose Action Line.)
Once satisfied with the cylinder’s position, enter Draw Mode again. Ctrl+Drag twice on the canvas for the cylinder to become a part of the sphere. The first time clears the mask and the second invokes the DynaMesh remesh function.
On the left, inserted meshes in white. In the middle, Transpose (combined with the Radial Symmetry)with the CTRL key pressed has been used to mask all the spheres except the current ones.Then on the right, the non masked spheres has been moved in another location.
If you held the ALT key while drawing the cylinder in the above scenario, the cylinder would be used to create holes. You will also notice that when the ALT key is used with any InsertMesh brush the PolyGroup assigned to the inserted mesh will be white. This white PolyGroup is an indicator that that mesh insertion will be subtractive rather than additive when the remesh is performed. Note: You do not have to actually mask the model in order to move the inserted mesh via TransPose. As an alternative to masking you can set the Brush >> Auto Masking >> Mask By PolyGroup slider to 100. When this is done, ZBrush will use an invisible mask based on the model’s PolyGroups. In essence, any brush -- including all TransPose modes -- will only affect the first selected PolyGroup.
Mesh Insert Transformation
While inserting a mesh, you can perform several actions to change its size and proportions. It is recommended to try each of the following in order to best understand how they operate.
If you move your cursor back toward the insert position, you will perform a non-uniform scale along the perpendicular axis of the insertion.
Hold the Shift key to uniformly scale the inserted mesh. While moving, the rotation will be locked.
While holding the ALT key, move your cursor up and down to stretch your inserted model. This is perfect for creating holes through a mesh.
Important Note: On Mac OSX, QRemesher is only compatible with Mac OSX 10.6 and higher.
On the left, the original model as created through Unified Skinning. The middle and right show new topology generated by QRemesher with different polygon density settings.
While classified as a plugin, QRemesher is fully integrated into ZBrush. It is the result of the collective efforts of both Pixologic and Verold. As its name suggests, QRemesher is an automatic remeshing/retopologizing function. As with UV Master (the automated UV mapping plugin for ZBrush), QRemesher has a number of user controls to enhance its automated retopology systems.
The QRemesher solution will recreate a new polygonal structure for your model, with a controlled flow of polygons and a global polycount value. In just a few seconds you can convert a 200,000 polygon DynaMesh to a 10,000 poly retopologized model. From there you can project all the fine details from your original sculpture, easily generate UV's with UV Master, and ultimately create your Vector, Displacement, Normal and Diffuse maps.
A fully automatic solution will give very good results for most of your needs, but there will of course be times when you might need more control. For that reason, QRemesher can control local polygon density through masks. It also allows you to draw control curves on your original model to drive its polygon flow and edge loops.
QRemesher can be found in the Tool >> Geometry sub-palette. It requires a PolyMesh3D object such as an imported mesh, DynaMesh or ZSphere adaptive skin. If you wish to use it on a parametric primitive you will need to first use the Make PolyMesh 3D feature. If your model is a ZSphere or a ZSketch in preview mode, you must first create an adaptive or unified skin before you can use QRemesher.
QRemesher does for your topology what UV Master did for UV mapping. It removes yet another creative barrier that often stands in the way of true artistic freedom. With QRemesher you can focus even more on the creative process of model creation and leave the technical hurdles behind!
This tutorial will look at how I created a ferocious insect alien character using DynaMesh tools. DynaMesh is a new ZBrush approach to building volumes, which brings the program even closer to seamless digital sculpting.
DynaMesh is ZBrush’s newest base mesh generation tool. DynaMesh is a perfect solution for free-form sculpting because it removes all need for focusing on topological constraints. It’s possible to change the overall shape of any DynaMesh by pushing or pulling, adding various pieces of geometry to combine into one, or even removing geometry in a manner similar to what you can do with Boolean operations. DynaMesh has been designed to create low and middle resolution sculpting stages, making it a perfect way to create your base mesh before diving deeper into all the powerful traditional ZBrush sculpting and editing tools.
A character created with the DynaMesh, started from a simple DynaMesh sphere. Model by Mariano Steiner.
DynaMesh is truly analogous of sculpting with traditional real-world clay. As you add volume to clay by stretching out details or laying on strips of new clay the actual consistency of the material remains exactly the same. So no matter how much volume you add, you still have the same capacity for sculpting. DynaMesh accomplishes the same thing, maintaining the uniform resolution and polygon distribution of your mesh. This is very unlike traditional sculpting methods which result in stretched polys if you push the surface too far - something that hampers your ability to do anything more with the surface in those areas. DynaMesh will truly free your sense of creativity.
DynaMesh is a mode which can be used with the primitives in ZBrush. You can also convert any existing geometry into a DynaMesh , but remember that DynaMesh for designing during the beginning stages of a sculpt rather than once serious detailing has begun. The detail of the converted mesh will be defined by the DynaMesh Resolution slider. Once any geometry is converted into a DynaMesh you will have entirely new geometry which is evenly distributed across the mesh. This is perfect for sculpting but naturally removes all pre-existing topology layout from the original model.
Once you have a DynaMesh you can sculpt it with any of ZBrush’s array of sculpting tools. This will naturally result in polygons becoming distorted in some places as you make significant changes to the base shape. At any point during this sculpting (and as often as you wish), simply hold CTRL and drag on any open area of the document. ZBrush will instantly retopologize your DynaMesh to restore a uniform geometry distribution. Even if you have stretched geometry to extreme measures, the result will be a uniform mesh that you can easily continue sculpting.
Every time you reorder the geometry with DynaMesh, ZBrush will only adjust the surface that has been edited. This means that areas that already had nice polygon distribution will keep them even after the retopology operation.
All DynaMesh commands and options are located in the Tool > Geometry sub-palette.
On a technical level, the new geometry resolution generated by DynaMesh is limited to a cube of 1024x1024 (≈1.05M polys per face & ≈6.3M polygons per DynaMesh/Subtool). When the mesh bounding box is pushed out of this maximum resolution, the geometry can start lose details.
When you start with a low resolution, a larger model will be allowed before it starts losing details. A higher resolution will allow more small details, but it will be limited in terms of how much you can expand the bounding box size – in other words, how far you can push the surface between remesh operations.
Three DynaMesh resolutions, with a difference in details accuracy, from left to right: 64, 128, 256
Manual Update
Keep in mind that the DynaMesh creation is not an automatic process. You will need to update your geometry when you feel that you need it. To perform this step, you must be in Edit >> Draw Mode and simply hold the CTRL key while click/dragging on an empty space of the document in the same way that you would to a clear a mask on your model. Upon receiving this command, DynaMesh will update your geometry in a fraction of second.
On the left, the mesh topology has been stretched after several brush strokes. On the right, a new topology with a constant tyopology has been recreated, ready to be sculpted.
With a high resolution and/or a large bounding box, DynaMesh will need more time to update your mesh. However, productivity is not lost because most of the time, this update process will still be done in less than a second (depending on your computer CPU performance).
Notes: If you wish to add your own shortcut to DynaMesh this can be accomplished by applying a hotkey to the “Add” button in the DynaMesh options.
The DynaMesh update can only be performed when ZBrush is in Draw mode and not when in TransPose (Move, Scale or Rotate) mode.
If your model already has a mask applied, you must clear the mask before being able to update the DynaMesh.
DynaMesh and Surfaces/Restrictions
The DynaMesh remeshing process can only work on volumes and not on surfaces. Surface detail can be lost based on your Resolution setting (found directly under the DynaMesh button).
Example of DynaMesh Process:
Load a Polymesh3D. A good example can be the DefaultSphere project, available in the LightBox Project tab.
Go to the Tool >> Geometry menu and click the DynaMesh button. You will now be in DynaMesh mode.
Pick one of your favorite brushes like the Clay or Clay Buildup and start sculpting as usual. Your model will react exactly like traditional sculpting clay would.
When you encounter distortion, stretched polygons or have the sense of missing some polygon density in any area, you can ask ZBrush to update your mesh. To do this, simply hold the CTRL key and drag a small rectangle outside of the mesh in any open space of the canvas in the same way you would to clear a mask. The mesh will automatically update with new geometry, ready for additional deformations or brush strokes.
In addition to the brushes, you can use TransPose with masks to make local or global deformations. Just remember that you must clear your mask and be in Draw Mode before you can update your DynaMesh.
You can also use Mesh Insert brushes to incorporate other models into your DynaMesh object. For example, you can have premade noses, ears, eyes and mouths, ready to add to a DynaMesh whenever you need one. This is a great solution to quickly build figures without having to always redo your work.
When you have finished building your low or medium resolution base mesh and want to start refining your figure with detail sculpting, quit the DynaMesh mode. Your model will become a traditional Polymesh3D. It will now be ready to add subdivisions for fine details.
Working with Multiple Meshes with a DynaMesh
It’s possible to work with multiple meshes while in DynaMesh mode. Any inserted object which is remeshed with the original one can remain separate by turning on the Group option located next to the DynaMesh button.
When the Group option is enabled, ZBrush will use polygroups to maintain separate geometry shells on a mesh that will still appear to be one piece of geometry and can be sculpted as such. You can have a lot of fun with the Group option in DynaMesh while using the new Slice Curve brush. (Learn more about the SliceCurve brush in the New Brushes section of this document.)
As already stated, this grouped mesh behaves as a single piece of clay. The only way to see the different polygroups is by enabling the PolyFrame button on the right side of the interface or by clicking the Transform >> PolyFrame (PolyF) button (Shift+F to toggle PolyFrame). Each Polygroup will be displayed with a different color.
If the Group option is enabled and a mesh has different polygroups, the DynaMesh remesh action will maintain these PolyGroups. At the same time it will fill any holes or gaps between dissociated objects. The Slice Brush creates new PolyGroups on the fly based on a curve or line that you draw. Combined with the DynaMesh and the Group option, this lets you easily cut objects into separate watertight volumes.
Notes:The DynaMesh resolution limit is per-SubTool. Adding more groups to your model will not increase the resolution limit of the DynaMesh. All groups will share the same maximum resolution. If you wish to have different meshes with different DynaMesh resolutions, you must use different SubTools which can then each have a different DynaMesh resolution.
DynaMesh with PolyPainting and Textures/UVs
The DynaMesh is a raw set of polygons that doesn't include UVs. It is in fact impossible to have UVs on a DynaMesh due to the fact that UVs are dependent upon topology - something that changes every time you remesh. If your original model has UVs, switching to DynaMesh mode will delete all UV information. A texture will not be able to be applied to a DynaMesh until turn off DynaMesh mode and create new UVs. This also naturally means that textures previously created for the model will no longer wrap correctly after using DynaMesh.
This restriction only applies to textures and UVs, however. A DynaMesh is still made up of polygons and so it supports PolyPainting. You can apply PolyPaint at any point during the process of creating with the DynaMesh feature. PolyPaint information will not be lost even when you remesh a DynaMesh to redistribute the geometry. Please do bear in mind that if your DynaMesh resolution is lower than the original polymesh model, you will experience a loss of PolyPaint quality when activating the DynaMesh feature. Also keep in mind that because DynaMesh regularly updates the mesh and changes the geometry count as you work, this can affect any PolyPaint.
In short, painting while DynaMesh is in use should be treated the same way as mesh generation – as a way of blocking out your design before you move on to refining and detailing.
Note: If you have a pre-existing model with texture you can keep that texture when activating DynaMesh. To do this, subdivide the model to have a number of polygons approximately equal to the texture resolution. Apply the texture and use Tool >> Texture Map >> New From Polypaint to convert the texture to paint. You can now activate DynaMesh, which will delete the UVs but keep the PolyPaint. The resolution of the paint will of course depend on the DynaMesh resolution, which does mean that you are likely to lose some of the texture’s details.
DynaMesh Actions:
A creature based on a simple sphere and cylinder inserted meshes. Model by Matthew Kean.
Inserting additive meshes (Add): By default, all new inserted elements will be additive meshes. This means that when doing the remesh operation, the inserted items will be merged as one element with the original DynaMesh.
This is an example of the combinaison of the insert brushes with custom meshes like ears, lips, nose, etc. combined with the DynaMesh. The ears are inserted first, then the nose and lips. The new topology is generated by the DynaMesh and some transition has been done with the help of the Smooth brush. In few clicks, create a base mesh with just presets brushes!
Inserting negative meshes (Sub): When holding the Alt key while inserting a mesh, ZBrush will consider it to be a negative mesh. This means that when the remesh is completed, the inserted mesh will be removed from the previous mesh and create holes. The result is similar to a subtraction Boolean operation, but without the messy polygons usually associated with Booleans.
You can insert multiple meshes and add or subtract them all at once via a single remesh operation. You can even mix additive and negative meshes, creating different combinations at once.
On the left, the original mesh with the negative mesh inserted in white color. On the center and right, the final result.
To visualize the negative meshes before the remesh operation of the Dynamesh, switch the PolyFrame display (located in the Transform palette): the negative meshes have a white PolyFrame color.
Intersecting meshes (And): When inserting a negative mesh (see Sub action) on top of a positive mesh (see Add action), the remesh action will create geometry only where the two meshes intersect each other. All other geometry will be removed. This operation is very similar to the SubTool Remesh intersection option.
Creating a Shell: You can create an internal thickness within any DynaMesh by first inserting a negative mesh (Sub). Clicking the Create Shell button will then place a hole where the Insert brush was used and an internal thickness will be added to the DynaMesh. The Thickness slider will let you change the size of the thickness, which is inward from the mesh surface. (In other words, it will be inside the model rather than inflating the surface.) This tool is perfect for people who wish print their models in 3D as it will reduce the amount of material for printing and so reduce costs.
The Shell creation: on the left, the original mesh and a negative mesh in white inserted on the location to create the opening. On the right, the final result with the shell thickness visible at the opening location.
If you do not wish to have a hole when Create Shell button is pressed make sure to move the negative inserted mesh away from the mesh before remeshing.
Note:The shell thickness calculation will consider local thickness across every point of the model’s surface. Any place where multiple shells intersect will not create any shell. Put another way, if the Thickness value is too large for the local mesh size, a shell won't be able to be created at that location. An example would be if the slider is high the a character with small fingers. In that case the body would receive a shell but the fingers would not.
DynaMesh Options:
Resolution Slider:
Defines the resolution of the DynaMesh, controlling the overall polygon density of the model. A low value will create a low resolution mesh with a low polygon count, while using a higher value will create a high resolution mesh that will retain more details at the cost of a higher polygon count.
A low resolution DynaMesh will update faster while a high resolution one will take more time to update.
As long as the DynaMesh remains in a 1024x1024x1024 resolution cube all details will be maintained as you remesh. If your sculpting causes the DynaMesh to exceed a 1024x1024x1024 space, the mesh will be updated to once again fit with the cube. At this point it could begin losing details.
Group mode:
When enabled, any DynaMesh with multiple PolyGroups will be split into separate pieces. It will still be kept as one SubTool.
Project mode:
When enabled, the current details of the model will be projected onto the DynaMesh automatically. This can be useful when converting a polymesh with existing details to a DynaMesh. Remember that the Resolution setting will play a big part in the amount of detail that can be retained.
Blur Slider:
Applies a smoothing effect to the DynaMesh when Project is enabled. A low value generates a small amount of smoothness while a high value will smooth all major details on the model.
Polish Mode:
When enabled, this option applies the various ClayPolish settings each time you update the DynaMesh. This is meant to smooth sharp corners.
Thickness slider:
Defines the thickness of the shell in relation to the resolution of the DynaMesh.
DynaMesh with TransPose
TransPose has undergone several enhancements in 4R2 that can be highly useful when working with DynaMesh. We invite you to read the TransPose chapter of this documentation to learn about new actions such as duplicating an inserted mesh (both positive and negative) and working with masks.
Discover new tools and techniques as Scott Spencer shows you how to combine organic and hard-surface modelling to create a sci-fi sculpture
For this tutorial, I’ll demonstrate a methodology for creating an intricate biomechanical character in ZBrush. I chose a biomech because it offers a perfect cross-section of organic and mechanical shapes to recreate. It also allows me to show how versatile the ZBrush modelling tools can be as we develop the character on the fly, adding parts gradually to build up to a completed character.
This approach will allow us to explore many of the new ZBrush 4 tools for both organic and hard-surface modeling. We’ll look at the new Clip brushes for slicing planes into geometry as well as the Trim and Planar brushes. To create new geometry, we’ll look at ZSpheres, ZSketch and the new ShadowBox tool. We will also use GoZ to combine Maya’s modelling tools with ZBrush to maximise our flexibility in creating the shapes we need.
You’ll begin by working on a generic head model, changing its shape with the Clip brushes and standard sculpting tools. From there, you’ll create the second major mass of the body: the torso. Here, we’ll really start to look at hard-surface brushes like Trim Dynamic and Polish. Once the major forms are in place, you’ll create some smaller mechanical details using ZBrush primitives and ShadowBox. Once we have completed the modelling phase we will then turn to the new BPR rendering engine in ZBrush 4. This rendering tool enables you to create accurate shadow and ambient occlusion passes, which can be exported to Photoshop for compositing a final image.
These videos and scene files accompany my tutorial in 3D World issue 139, which provides additional context and tips to help you develop your ZBrush skills.
The new Planar brushes add the ability to flatten parts of your model, without creating overlapping geometry. By default, these brushes will flatten everything which is at the clicking level and aligned with the brush angle, by doing a click drag: if you click inside a cavity, everything which is above the click depth will be flatten. This means that if your click is on the top of a peak, nothing will be flattened as your cursor is already on the top of the model. The Imbed slider in the Brush >> Depth menu controls the depth of the stroke when using the planar brush.
The clip Brushes are different from any other brushes as their operation is always perpendicular to the canvas. These brushes are similar to how the Eraser tool cuts away pixols on the canvas, except that they are used to cut away areas of your model and slice its borders. These Clip brushes do not change the topology of your model; they only push the polygons based on the stroke you apply to your model. The Clip Curve brush in action, combined with radial symmetry.
Since the clip Brushes use open and closed curves, it is important to know which side the clipped polygons will be pushed to. For this purpose, the curves have a shadow on one side and polygons will be pushed in the direction of the shadow. If you create your stroke in the wrong direction, just press the ALT key to tell ZBrush that you want to push the polygons in the other direction.
The clip brushes respect masking. If you want to protect an area from being pushed, simply paint a mask on it. Don’t forget to check your model for unprotected areas as the clip brushes operate through the whole depth of the model relative to the curve.
When tapping the ALT key once with the ClipCurve brush you will create a curved line that can be changed in direction every time ALT is clicked. If you double-tap the ALT key when using the ClipCurve brush, the change in line direction will be a sharp angle rather than a smooth curve.
When holding the ALT key while using the Circle or Rectangle Clip brush, ZBrush will cut away all of the mesh that is inside the drawn circle or rectangle. Understand that if you hold the ALT key and the cross indicator is over any part of the mesh there will be a result of geometry being pushed out.
The clip brushes all share the same behaviors; only the Stroke type makes them different.
Clip brushes additional features
Stroke option
By pressing Ctrl+Spacebar while using a Clip brush, a pop-up window will appear offering two options:
Brush Radius: When enabled, the polygons will be partially pushed to the line depending upon the brush size and the distance of the mesh from the camera.
By Polygroup: When enabled, a polygroup will be created based on the pushed geometry included in the circle or rectangle stroke.
Brush Radius and By Polygroups are also located in the Transform palette.
Center position for Circle and rectangle Clip Brushes
When drawing a Circle or Rectangle stroke, a small cross appears in the middle of the shape. When the cross is outside of the mesh, the polygons are cut to the edge of the circle or rectangle to create a notch in your model. When the indicator is inside the mesh, polygons will be pushed out which results in an expansion of geometry rather than a cut. 1: The Circle Clip brush is used with the center of the stroke outside of the model. 2: The result, with the polygons pushed inside the circle. 3: For this new stroke, the center is inside the model. 4: The polygons are pushed outside the circle. 5: The same as 4, but at a different angle to show how the clip takes place relative to the canvas.
Note:
When pressing ALT while the indicator is inside the mesh, the stroke switches from white to black and the polygons located inside the stroke are pushed perpendicular to the screen, in both directions.
If you start to create a stroke and need to move it, hold the spacebar and move your cursor; the stroke will move. Release the spacebar to continue or finish the stroke.
Selecting and using Clip Brushes
As with the Smooth brushes, the Clip brushes are activated by hotkey. When selecting a Clip brush in the Brush palette, it will automatically be assigned to a specific hotkey: Ctrl+Shift.
When using a normal brush, press Ctrl+Shift to activate the last selected Clip brush. Release Ctrl+Shift to return to using the normal brush.
Selecting another Clip brush will replace the previously selected one without changing the active normal brush.
Clip Curve
The Clip Curve uses a curve to push the polygons. By default, this is a straight line.
Tap the ALT key to create an invisible point that will transform the line into a curve. Image:.jpgBy default, the Clip Curve creates a straight line, which pushes all the polygons to the same plane.
If you want to create an angle at the point position instead of a curve, double-tap the ALT key.
If needed, press the space bar to move your curve while creating it.
Press the ALT key when releasing the cursor if you want to push the polygons on the other side of the curve, according to the curve shadow position. On the left, the Alt key has been tapped once in two different positions to create the curve. On the right, the Alt key has been tapped once to create a curve and then tapped twice to create an angle.
The shadow of the Clip Curve must always be on the same side of the curve. Basically, the Curve pushes all polygons in the direction of the gradient side of the curve. A curve which looks like a letter “S” would not work as the curve gradient will reverse twice and produce an unexpected result. On the top: Valid clip curves. Note that the bottom section of the last one on the right is at the limit of working. On the bottom: invalid curves which can produce unexpected results. The curve is crossing its shadow.
Note: It is not possible to edit the clicked points after they have been created.
Clip Circle
The Clip Circle uses an ellipse to push the polygons. By default, all the polygons outside of the circle will be pushed to the border of the drawn circle.
Hold the ALT key when releasing the mouse button if you want to push the polygons located inside of the circle. This will allow you to create clean circular edges in a mesh’s existing hole. (The clip brushes cannot be used to create holes in topology, but they can reshape existing holes.)
By activating the Center and Square features in the Stroke Palette you will draw a perfect circle with the center located at the initial brush click.
If the Middle Cross indicator is over the mesh when holding the ALT key, the geometry within the circle will be pushed out instead of being clipped.
If needed, press the spacebar to move your curve while creating it.
Note: It is not possible to edit the clicked points after they have been created.
Clip Circle Center
Clip Circle Center is the same brush as Clip Circle, except that the stroke creates a perfect circle using the Square and Center options located in the Stroke palette. By default, all the polygons outside of the circle will be pushed to the edge of the drawn circle.
Hold the ALT key when releasing the mouse button if you want to push the polygons located inside of the circle.
If needed, press spacebar to move your curve while creating it. Note:
It is not possible to edit the clicked points after they have been created.
Clip rectangle
Clip Rectangle uses a rectangle to push the polygons. By default, all the polygons outside of the rectangle will be pushed to the border of the drawn shape.
Hold the ALT key when releasing the mouse button if you want to push the polygons located inside of the rectangle. This will allow you to create clean square holes in a mesh that already has a hole. (The clip brushes cannot be used to create holes in topology, but they can reshape existing holes.)
By activating the Center and Square features in the Stroke Palette you will draw a perfect square centered on the initial brush click.
If the Middle Cross indicator is over the Mesh when holding the ALT key then the geometry within the rectangle will be pushed out instead of being clipped.
If needed, press the spacebar to move your curve while creating it.
