B UILDING & M ANAGEMENT
V OLUME 3 I SSUE 3 S EPTEMBER - D ECEMBER 2019
E VOLUTION OF DRAWING AND SKETCHING WITH THE USE OF ZBRUSH AND THE LIVE BOOLEAN TOOL
A. B ERROYA E LOSUA , M. E CHEVARRÍA A GUIRRE AND D. A RTEAGOITIA G ARCÍA (2019). B UILDING & M ANAGEMENT , 3(3): 34-41
give customers an idea of what the final product could look
like. Another use can be found in academics; scholarly
examples include reconstructions of ancient architecture using
3D programs, as is demonstrated in Denker’s work [5].
visible/explicit mesh shapes and invisible/implicit stroke
relationships, and similar input strokes can end up with
dissimilar output structures due to intervening edits” [6].
1.3. E XAMPLES AND RESULTS
However, 3D programs can be utilized earlier in the
visualization pipeline than they traditionally are using a
technique called “Kitbashing”. Using this technique, one
collects, organizes, labels, and selectively stores all the objects
previously created in 3D and then reassembles them to create
a completely new object or scene [7-13]. Any element that has
been modeled before can be reused in future projects. When
designing for production, both speed and efficiency are
fundamental factors. The Kitbashing methodology enables 3D
software to contribute to the design process rather than simply
visualizing previously designed concepts [15-23].
The software analyzed here, ZBrush, was originally designed
to focus on organic sculpture and character design; today it is
used for both organic and inorganic modeling development.
Originally ZBrush did not feature fundamental spatial control
tools commonly found in traditional modeling programs, such
as 3D Max, Maya, or Blender. These programs include a
position, scale and rotation manager as well as a hub showing
the position of the object with respect to the "X", "Y", and "Z"
axes, whereas ZBrush did not. This lack of visual orientation
was a shortcoming that complicated the process of designing
inorganic elements with precise control [14].
1.2. ZB RUSH
However, with the release of version 4r7 and subsequent
iterations, the program has incorporated more and more tools
that make it competitive with traditional modeling programs.
These tools include "ZModeler", "Nanomesh", and the more
recent “Live Boolean” tool, which will be analyzed here. This
article will focus on the Live Boolean tool, as it allows one to
work with complex inorganic forms in an intuitive and simple
way.
The example shown in the next section demonstrates one of
the most effective workflows that can be used when designing
inorganic elements. To do this, the 3D sculpting and modeling
software ZBrush is used.
ZBrush is a software created by the company Pixologic in
1997. In order to understand the potential of the tool, it is
necessary to understand the professional context in which it
was created. At the end of the 1990's, 3D modeling and
design software geared toward artistic industries rose in
prominence due to the success of "Toy Story" (1995), the first
animation film made entirely with 3D software. In this situation,
3D programs proved to be an effective tool for creating
movies. They also enabled the generation of virtual
environments created entirely in 3D for consoles like
PlayStation.
However, developers lacked a tool to develop organic shapes
and geometries with processes that were closer to traditional
art. It is in this arena that Pixologic’s tool has been
fundamental. In fact, its focus on character development and
specialization became notorious after its use in two The Lord
of the Rings films: "The Two Towers" (2002) and "The Return of
the King" (2003).
Fig. 4: Simple shape modified with Kitbashing elements.
This process begins with Kitbashing: the gathering and
cataloging of previously created inorganic elements and
objects to be combined afterwards. These will serve as the
building blocks for creating modifications and suggesting new
shapes.
This software is classified as a program specializing in digital
sculpture, which, unlike most 3D modeling programs, gives the
user an experience closer to traditional drawing and sculpture.
In fact, it has become an indispensable tool for three
dimensional “sketching” when creating conceptual images.
The process of modeling inorganic objects through Live
Booleans begins with a scene composed of a primitive or
simple geometry. From here, as shown in Figure 4, the user will
explore shapes as simple modifiers, cutting the original piece
with the "Trim Curve" tool and playing with the symmetries.
“However, there are several key differences between 2D
sketching and 3D sculpting that prevent trivial extensions of
prior methods for our applications. 2D sketching operates on a
simple 2D static planar canvas, the user strokes do not interact
with one another, and remain there once placed.
To see a precise example of how the Trim tool set works, look
at Figures 5(a) and 5(b). In Figure 5(a), this tool is used to
draw a curve along the geometry. The program calculates
everything marked along the curve and subtracts it from the
original object. In this case, the Trim process results in the form
shown in Figure 5(b). The Trim tool includes circles, rectangles
3D sculpting dynamically deforms the base object shape, the
later strokes can overlap and alter earlier ones including both
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