Foreword

Here we are at the second edition of Introducing ZBrush by Eric Keller. This one is Introducing ZBrush 4. Let me first say it is an honor to be asked by Eric to write the foreword to his exceptional book. I have had the pleasure of knowing Eric for several years now. We first met at the Gnomon School of Visual Effects in Hollywood where Eric has run several successful courses. I have learned much from his experience, and if it were not for his recommendation, I never would have had the opportunity to write my own ZBrush books. Based on Eric’s previous titles and his experience as a teacher, I am confident you are in the best of hands with Eric as your guide to this amazing program.

It is amazing to realize that we have already come to the next edition of this landmark ZBrush book. In that relatively short period of time, so many new and exciting things have changed with the program. It seems to me the minds behind ZBrush are continually pressing the accelerator on innovation. Each new point update seems packed to the rafters with groundbreaking features and improvements on various tools. It has come to the point that we seem to expect Pixologic to revolutionize some aspect of the program with each release. If you are new to ZBrush, you are about to experience one of the most unique and liberating programs for artists on the market. If you have worked with previous versions, be prepared to see an entire arsenal of new tools and possibilities!

ZBrush is merely 10 years old, and in just over half that time it has gone from a unique painting program to the industry-standard digital sculpting software. It has changed how we create character models from initial design to final paint and detailing. Not only has Pixologic defined high-resolution brush-based sculpting for the film and game industries, ZBrush has opened up entirely new applications for digital sculpting tools. In the last five years, manufacturing has seen ZBrush enter the scene to be used as a highly effective medium for creating sculptures. Creators of fine art have begun to integrate ZBrush into their creative process. In just the past year, I have used ZBrush to create everything from prosthetic bodies to fine art public sculpture and collectable action figures. Anyone who seeks to become proficient as a sculptor in ZBrush will find they have a staggering number of opportunities to find an application for their skill set!

ZBrush has even gained a foothold in the world of concept design. Many directors are now eager to see their creatures and characters designed in three dimensions rather than on paper. This allows a new level of freedom because they can interactively see the character in 3D space and make changes on the fly. This level of freedom is always appealing to a director who wants to know they have explored every possibility in the design process. It also allows talented sculptors to take part in the initial conceptual phases of the project rather than replicating a completed design from a set of drawings.

This is truly an exciting time to be learning ZBrush, and I can think of no better guide than Eric to lead you into the world of digital sculpting. Eric’s many years of experience as a working production artist has made him sensitive to the need for reliable and efficient workflows. He is also an accomplished artist with pixels and pencils. For this reason, Eric’s instruction will go beyond how to use the program into how to approach ZBrush with an artist’s sensibility. That’s what makes each of you reading this book unique. You are all artists, and the vision, experience, and education you each bring to the program is what makes the work shine. ZBrush is a tool to liberate your creative power from the limits of technology. I have taken up too much of your time already—carry on with the path to learning this unique and powerful artist’s tool. Enjoy the journey!

— Scott Spencer, character designer and sculptor