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Maxon ZBrush
DeveloperMaxon
Initial release1999; 27 years ago (1999)
Stable release
ZBrush 2025.1.1 / December 12, 2024; 14 months ago (2024-12-12)
Written inC, C++, Python
Operating systemWindows 10 version 1709 and later
macOS 11.5 and later
Type3D computer graphics
LicenseCommercial proprietary software - Shareware
Websitewww.maxon.net/en/zbrush

Maxon ZBrush is a digital sculpting tool that combines 3D/2.5D modeling, texturing and painting. It uses a proprietary "pixol" technology which stores lighting, color, material, orientation and depth information for the points making up all objects on the screen. ZBrush shares some similarities with traditional sculpting[citation needed].

ZBrush is used for creating "high-resolution" models (ie. models that reach 40+ million polygons) for use in movies, games, and animations, by companies ranging from ILM[1][2] and Wētā FX,[3] to Epic Games and Electronic Arts.[4] ZBrush uses dynamic levels of resolution to allow sculptors to make global or local changes to their models. ZBrush is most known for being able to sculpt medium- to high-frequency details that were traditionally painted in bump maps. The resulting mesh details can then be exported as normal maps to be used on a low poly version of that same model. They can also be exported as a displacement map, although, in that case, the lower poly version generally requires more resolution. Or, once completed, the 3D model can be projected onto the background, becoming a 2.5D image (upon which further effects can be applied). Work can then begin on another 3D model which can be used in the same scene. This feature lets users work within complicated scenes without a heavy processor overhead.

ZBrush was developed by the company Pixologic Inc, founded by Ofer Alon (also known by the alias "Pixolator") and Jack Rimokh.[5] The software was presented in 1999 at SIGGRAPH.[6] The demo version, 1.55, was released in 2003,[7] and version 3.1 was released in 2007.[8] ZBrush 4 for Windows and Mac systems was announced on April 21, 2009 for an August release,[9] but was later postponed.[10] Version 3.5 was made available in September the same year, and includes some of the newer features initially intended for ZBrush 4.[11]

Through GoZ ("Go ZBrush"), available starting in Version 4, ZBrush offers integration with other 3D graphics programs such as Autodesk Maya, Autodesk 3ds Max, Cinema 4D, LightWave 3D, Poser Pro, Daz Studio, EIAS, Modo[12] and Blender.

ZBrush was purchased by the software company Maxon in January 2022. Since then, ZBrush has been added to the company's Maxon One subscription service. In addition, the Redshift renderer was integrated into ZBrush.[13][14]

Pixol

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Like a pixel, each "pixol" contains information on X and Y position and color values. Additionally, it contains information on depth (or Z position), orientation and material. ZBrush-related files store pixol information, but when these maps are exported (e.g., to JPEG or PNG formats) they are flattened and the pixol data is lost. This technique is similar in concept to a voxel, another kind of 3D pixel.

Features

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An example of a scene made using ZBrush

ZBrush comes with many features[15] to aid in the sculpting of models and meshes.

3D Brushes

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The initial download of ZBrush comes with thirty 3D sculpting brushes, and more are available for download. Each brush offers unique attributes while allowing general control over hardness, intensity, and size. Alphas, which are used to create a specific pattern or shape, and textures are also editable features of the brushes.

Polypaint

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Polypainting allows users to paint on an object's surface without the need to first assign a texture map by adding color directly to the polygons.

Illustration

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ZBrush also gives the ability to sculpt in 2.5D and comes with several brushes for that purpose. A pixol put down when sculpting or illustrating in 2.5D contains information on its own color, depth, material, position and lighting information.

Transpose

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ZBrush also has a feature that is similar to skeletal animation in other 3D programs. The transpose feature allows a user to isolate a part of the model and pose it without the need of skeletal rigging.[16]

ZSpheres

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A user can create a base mesh with uniform topology and then convert it into a sculptable model by starting out with a simple sphere and extracting more "ZSpheres", until the basic shape of the desired model is created.

GoZ

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GoZ tab in Autodesk Maya's shelf

Introduced in ZBrush 3.2 OS X, GoZ automates setting up shading networks for normal, displacement, and texture maps of the 3D models in GoZ-enabled applications. Upon sending the mesh back to ZBrush, GoZ will automatically remap the existing high-resolution details to the incoming mesh.[12] GoZ will take care of operations such as correcting points & polygons order. The updated mesh is immediately ready for further detailing, map extractions, and transferring to any other GoZ-enabled application.[17]

Best Preview Render

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Also included is a full render suite known as Best Preview Render, which allows use of full 360° environment maps to light scenes using HDRI images. BPR includes a new light manipulation system called LightCaps. With it, one can not only adjust how the lights in the scene are placed around the model, but also generate environments based on it for HDRI rendering later on. It also allows for material adjustments in real-time. Material properties such as subsurface scattering are supported as are environmental and scan-line reflections. BPR also includes a set of built-in filters that can be used in real time to create dramatic effects and corrections without even touching another photo-manipulation program.[18]

DynaMesh

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This allows ZBrush to quickly generate a new model with uniform polygon distribution, to improve the topology of models and eliminate polygon stretching.[19]

Fibermesh

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Fibermesh is a feature that allows users to grow polygon fibers out of their models or to make various botanical items. It is also a way to edit and manipulate large amounts of polygons at once with Groom brushes.[20]

ZRemesher

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It is an automatic retopology system previously called QRemesher that creates a new topology based on the original mesh. The new topology is generally more clean and uniform. This is a process that also helps to reduce or increase the polygon count. This process can also be guided by the user to make the new topology follow curves in the model and retain more detail in specified areas.[21]

Shadowbox

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Shadowbox allows the user to draw a rough silhouette of what they want to model, onto the inside of a virtual box. In real-time, any changes to the drawings are applied to a 3D model, upon which further details can be applied. The feature can best be utilized for hard surface modeling.[22]

ZBrush for iPad

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See also: Blender for iPad
Zbrush for iPad

In September 2024, Maxon released ZBrush for iPad, bringing the software's digital sculpting and painting tools to mobile devices. The app supports Apple Pencil input, touch gestures, and high-polygon meshes, and includes many of the brushes and features found in the desktop version. ZBrush for iPad is available as a free download with a subscription option for full features. [23]

See also

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References

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Further reading

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

ZBrush

View on Grokipedia
from Grokipedia
ZBrush is an Academy Award-winning digital sculpting, modeling, and software that enables artists to create highly detailed 3D models by simulating traditional clay sculpting techniques on a computer. Developed by Pixologic Inc., a company founded in 1997, ZBrush introduced innovative tools like pixol-based rendering and multi-resolution subdivision editing, setting a new standard for organic modeling in the digital arts industry. Its core workflow revolves around customizable brushes—over 200 in total—that allow for intuitive shaping, texturing, and painting directly on 3D surfaces, with features such as DynaMesh for dynamic remeshing and PolyPaint for vertex-level color application. Since its early versions, including ZBrush 1.5 released in 2002 and ZBrush 2 in March 2004, the software has evolved through numerous updates, incorporating advanced capabilities like ZSpheres for armature-based modeling and operations for non-destructive merging. In 2014, Pixologic received a Scientific and Technical Academy Award for the development of ZBrush's multi-resolution sculpting tools, recognizing their impact on in cinema. Widely adopted in , video games, jewelry , and , ZBrush supports high-polygon counts—up to millions—making it a leading tool for high-detail organic sculpting of characters and creatures, often used alongside other software for detailing and complete production pipelines, as seen in productions by studios like . In January 2022, Maxon finalized its acquisition of Pixologic's assets, integrating ZBrush into its suite alongside tools like , while maintaining perpetual licensing options and expanding to platforms including with a dedicated release in 2024. Recent versions, such as ZBrush 2025, emphasize interoperability with formats like OBJ and STL, Python scripting for automation, and enhanced rendering via integration.

History and Development

Origins and Early Versions

Pixologic Incorporated was founded in 1997 by Ofer Alon and Jack Rimokh in , , with research and development based in , aiming to develop innovative software for digital artists in fields like , video, games, and . The company emerged from Alon's vision to create tools that bridged traditional painting with digital 3D capabilities, drawing on his background in . ZBrush made its debut in 1999 at the conference as a digital painting program, revolutionizing by incorporating depth information into each through proprietary pixol technology, which stores color, lighting, material, and 3D positional data for realistic rendering without traditional meshes. This initial release positioned ZBrush as a tool for artists seeking intuitive depth-based painting, distinct from conventional 2D software, and it quickly gained recognition for enabling complex visual effects in a lightweight environment. Early versions, spanning 1.0 through 2.x from the late to the early , emphasized workflows for and rudimentary 3D integration, such as basic and lighting simulation, while avoiding full to maintain focus on painterly techniques. For instance, version 1.5, released prior to 2003, earned Game Developer Magazine's Front Line Award for its innovative approach to creation. A core feature from these foundational releases was the ZBrush document system, which managed layered canvases composed of pixols, allowing artists to build and manipulate depth-enabled images iteratively without losing 3D context. This system supported non-destructive editing and export to formats like Photoshop, fostering its adoption in and .

Major Milestones and Releases

ZBrush 2.0, released in March 2004, marked a pivotal shift by introducing subdivision surfaces and basic 3D sculpting capabilities, allowing artists to move beyond painting toward full 3D model creation directly within the software. This version enhanced productivity through innovations like HD sculpting modes, enabling higher detail levels on 3D meshes without traditional limitations. In 2007, ZBrush 3.0 arrived on May 15, bringing ZSpheres as a revolutionary tool for intuitive creation, where users could build base by linking adaptive spheres to form organic structures. The release also included projection for transferring details between models and advanced rendering features like real-time shadows and material capture, streamlining workflows for character and environment artists. Shortly after, ZBrush 3.1 in August 2007 expanded integration options, though GoZ—a one-click transfer system for applications like Maya and 3ds Max—was fully introduced in subsequent updates around 2009 to facilitate seamless app interoperability. ZBrush 4.0, launched in August 2010, advanced 3D capabilities with HD geometry support for sculpting at millions of polygons while maintaining performance, and tools like ShadowBox for quick hard-surface modeling from primitive shapes. ZRemesher, an automatic system, debuted in the 4R6 update in June 2013, generating clean quad-based from high-poly sculpts while preserving form and detail, significantly reducing manual time. The ZBrush 4R8 release in June 2017 introduced FiberMesh for generating realistic hair, fur, and fibers from curves or sculpts, enabling dynamic grooming simulations. It also added Sculptris Pro mode, which dynamically adjusts polygon density during sculpting for brush-like freedom without constraints, democratizing high-detail work for beginners and pros alike. Leading up to the acquisition, pre-2022 updates emphasized performance optimizations, such as faster rendering engines in ZBrush and , alongside UV Master enhancements for automated unwrapping and packing in versions like 4R7 (2015). Rendering saw improvements with better light and material previews in 2021 updates, supporting non-photorealistic outputs and integration with external renderers.

Acquisition by Maxon and Recent Updates

In January 2022, Maxon completed its acquisition of Pixologic's assets, including ZBrush, with the entire ZBrush development team joining Maxon to enhance the software's integration within the company's ecosystem. This move shifted ZBrush to an exclusively subscription-based model through Maxon One, providing bundled access alongside tools like and , while phasing out perpetual licenses for new purchases. Following the acquisition, ZBrush 2023 was released in January 2023, prioritizing overall stability improvements and introducing features such as rendering integration to facilitate cross-app workflows with other Maxon products. The 2023.1 update in March further expanded plugin capabilities, including enhancements to ZRemesher for and new masking tools, alongside bug fixes to bolster reliability. ZBrush 2024, launched in November 2023, continued this focus on stability and interoperability by adding plugin expansions like the Anchors Brush for character posing automation and noise integration, enabling smoother data exchange in multi-tool pipelines. It also reinforced the subscription-only approach, with updates emphasizing performance optimizations and new strokes like DragStamp for efficient detailing. The ZBrush 2025 launch in September 2024 marked a significant expansion with native compatibility, allowing mobile sculpting, and updated GoZ support for seamless asset transfer between the iPad app and desktop version or other applications like . Subsequent point releases built on this foundation: version 2025.1 in December 2024 introduced the Quick Polygroup for streamlined polygroup management, alongside Anchor bend modes for more intuitive manipulation. The 2025.2 update in April 2025 enhanced for hard-surface modeling through new presets, selection action modes, and edgeloop snapping, improving precision in base creation. In May 2025, Maxon discontinued ZBrushCore and ZBrushCoreMini, entering them into limited maintenance mode, with new sales and downloads ceasing on May 30 to redirect users toward the full ZBrush edition via Maxon One subscriptions. ZBrush 2026.0, released on September 10, 2025, introduced Python scripting support for custom plugin development and workflow automation. A point release, 2026.0.1, followed on September 30, 2025, addressing bug fixes including a missing Lightbox back icon, crashes when loading NoiseMaker from Lightbox, and general stability improvements. ZBrush 2026.1, released on December 3, 2025, introduced new retopology and retopology smoothing brushes for manual retopology workflows, new user folders for improved organization, and the ability to create tabs in the IMM Viewer for Retopo Patches, IMM, NanoMesh, and VDM brushes.

Core Technology

Pixol System

The pixol represents the foundational technology in ZBrush, extending the concept of a traditional 2D pixel by incorporating three-dimensional attributes. Specifically, a pixol includes not only X and Y position coordinates and RGB color values but also Z-depth information, surface orientation, material properties, and lighting data. This enriched data structure enables ZBrush's depth mapping on a 2D , where pixols simulate three-dimensional depth while remaining planar. As a result, artists can perform non-destructive layering, with new elements interacting based on the underlying depth , and apply relighting adjustments that recalculate and illumination across the entire composition in real time. Pixols exist exclusively on the ZBrush and are preserved in .ZBR files, which retain all associated attributes for subsequent editing sessions. Pixols are stored as an array on the , supporting high-resolution sculpting and detailing without requiring an initial full 3D mesh representation. When a 3D model is active in Edit mode and projected onto the , it converts to pixols, capturing depth and other details for workflows that allow extensive manipulation before any polygon-based export. Compared to polygon meshes or voxels, the pixol system provides key advantages, including infinite resolution scaling through canvas expansion and freedom from hardware-imposed polygon limits, such as those in rendering. It also ensures efficient memory usage for organic forms, as the array avoids the volumetric storage demands of voxels while enabling detailed, high-fidelity work on complex surfaces without performance degradation.

2.5D Workflow and Canvas

ZBrush's canvas functions as a resizable 2D plane measured in pixols, enabling the integration of 2D images, depth-based paintings, and 3D models within a single workspace. This hybrid environment allows artists to project 3D elements onto the while preserving depth information for realistic rendering and manipulation. Unlike traditional 3D viewports, the canvas treats 3D objects as projections, optimizing performance for high-detail work by avoiding full 3D scene computations. The layer system in ZBrush supports non-destructive editing by treating each layer as an independent canvas with its own depth, height, and width data, all co-existing in 3D space. Up to 16 layers can be active, each represented by a , allowing users to toggle , duplicate, or merge them without altering the original content until explicitly baked or deleted. Alpha masks can be applied per layer to control and blending, while the Fill function projects selected textures or colors across the layer, facilitating seamless pattern wrapping in modes like or Wrap. This setup enables iterative adjustments, such as repositioning depth via the Displace , without impacting underlying layers. A typical 2.5D workflow begins with sketching and painting directly on the canvas using 2.5D brushes, which build depth pixols for a pseudo-3D effect from a fixed viewpoint. Artists can then import or generate 3D models using tools like Drop 3D, which leverages the canvas's 2.5D capabilities combined with dynamic tessellation to place and refine elements interactively. Spotlight projection allows loading reference images or textures onto the canvas, enabling precise alignment and painting over 3D models in real-time; details are projected conformally onto the geometry for polypainting or displacement. Once initial composition is established, users transition to full 3D sculpting mode by entering Edit mode on a tool, shifting focus to polygonal manipulation while retaining canvas projections as references. Document resolution in ZBrush is handled through the Document palette, supporting canvas sizes up to 8192 x 8192 pixols (8K), which accommodates high-fidelity output for printing or further processing. Projection mapping extends this by tools like Projection Master, which unwraps 3D models onto the 2.5D canvas for detailed texturing with 2D brushes, then reprojects changes back to the 3D geometry, ensuring UV-consistent application of alphas, colors, or displacements. This process maintains non-destructive flexibility, as edits remain editable on layers until final export.

User Interface and Navigation

Workspace Layout

The ZBrush workspace centers on the , a central area measured in pixols that supports 2D, , and 3D workflows for sculpting and models. Flanking the are collapsible trays: the left tray houses the Tool palette for managing 3D models and assets, while the right tray contains panels for Layers, used in non-destructive editing, and the Timeline for and visibility sets. At the top, the palette provides access to brush selection and settings, enabling efficient adjustments during creative sessions. The interface employs a shelf surrounding the to streamline tool access, with the top shelf offering icons for common actions like entering Edit mode or scaling objects, the left shelf dedicated to sculpting and tools, and the right shelf handling and 3D controls. These shelves support quick tool switching by allowing users to elements, and they can store macros—sequences of commands—for automating repetitive tasks. Customization enhances workflow efficiency through trays that hold entire palettes, which can be rearranged or collapsed via drag handles and dividers. Pop-up palettes, created as submenus, provide on-demand access to grouped functions without cluttering the main view, activated by enabling customization mode and dragging relevant items. The acts as a dockable asset manager, organizing resources like brushes, alphas, textures, and materials into categorized folders for easy loading and previewing. Multiple default layouts are available, switchable via the Load Next User Interface Layout button in the title bar, with custom configurations savable for task-specific setups. In November 2025, Maxon announced an upcoming overhaul of the desktop interface, adopting principles from the version to modernize the layout. On mobile platforms, ZBrush for introduces adaptations in 2025, including a touch-optimized layout with a customizable bottom bar for pinning favorite and materials, gesture-based controls via swipes for adjustments like draw size, and integration for precise input, simplifying the desktop trays into a more streamlined, mobility-focused design.

Transpose and Camera Controls

In ZBrush, the tool serves as a fundamental mechanism for manipulating 3D models through posing, masking, and deformation, enabling precise control over subtools and armatures. The tool activates via the Transpose brush, which automatically switches between Move, Scale, or Rotate modes when selected from the Brush palette, with Transpose Smart Mask as the default option. By drawing an Action Line from a point on the model to a target location, users can position elements; clicking the white ring at the line's center centers the on the selection for armature posing. This line-based system facilitates intuitive adjustments, such as rotating limbs or aligning components, while holding the W key invokes Move mode for basic translations. Masking integrates seamlessly with for targeted deformations, where holding Ctrl and dragging the Action Line applies a based on surface —the length of the line determines the mask's scope, with shorter lines isolating small areas and longer ones affecting broader regions. Additional modifiers enhance precision: Shift adds to existing masks, while Alt unmasks areas for refined control. In Move mode (W hotkey), holding Alt and dragging the center circle bends surfaces along the Transpose line, with deformation intensity modulated by the Brush Curve settings in the Brush palette. These features allow for non-destructive edits, preserving original geometry while enabling iterative posing. The Master plugin extends these capabilities to multi-subtool models by generating a low-resolution combined via the Mesh button, allowing unified posing of complex armatures without individual subtool adjustments. Once posed—using the standard line or ZSphere —the pose transfers back to original subtools with >SubT, maintaining polygroup integrity if the Grps option is enabled. For denser , pre-processing with ZRemesher reduces count, followed by subdivision and detail projection to avoid issues during deformation. This workflow supports efficient armature posing for characters or mechanical assemblies. ZBrush's camera system provides versatile navigation essential for model inspection and workflow efficiency, featuring Free Navigate mode as the default for intuitive control. In Free Navigate, users rotate the view by clicking and dragging the background, pan with Alt+click and drag, and zoom via Alt+click (release Alt, then drag) or the E hotkey for scaling. Constrained rotations to 90-degree increments occur by holding Shift during drags, while the R hotkey centers on the model. Alternative Right-Click , enabled in Preferences>Interface, uses right-click drag for , Alt+right-click drag for panning, and Ctrl+right-click drag for zooming, accommodating tablet users. Perspective and Orthographic modes toggle via the P hotkey, with Perspective offering realistic depth cues for sculpting and Orthographic providing distortion-free views for precise measurements—CamView buttons enable one-click switches to standard orthographic angles (Front, Back, Left, Right, Top, Bottom). The floor grid, toggled with Shift+P, displays an XYZ-aligned plane in the Draw palette for spatial reference, adjustable in height and visibility to aid alignment during posing. For previews, AA Half (Antialiased Half-size) in the palette zooms the canvas to half resolution while applying full , simulating final render quality without computational overhead; activate via Ctrl+0 for quick assessments during navigation. Symmetry enhances Transpose and camera interactions, toggled with the X hotkey for global mirroring across X, Y, or Z axes via Transform palette buttons; Local Symmetry mode, activated in the Transform menu, maintains symmetry during off-axis movements using or line, with Shift snapping alignments for balanced deformations. This is particularly useful in polypainting workflows, where symmetric poses ensure consistent color application across mirrored surfaces. The Timeline palette integrates for keyframe-based pose , allowing users to store model positions as keyframes (Ctrl+Shift+click on the timeline) after adjusting with the Transpose tool. The Camera track animates Move, Scale, and Rotate transformations across frames, enabling smooth pose transitions for presentations; keys can be dragged, duplicated, or interpolated for refined sequences, with the time cursor previewing motion in real-time. Poses created via Transpose Master transfer effectively to the timeline, supporting export of animated turns for rendering pipelines.

Modeling Tools

ZSpheres

ZSpheres represent a foundational modeling tool in ZBrush, enabling artists to rapidly construct base meshes for organic models by assembling a hierarchy of interconnected spheres that mimic a skeletal framework. This approach facilitates intuitive 3D sketching, where spheres serve as control points to define the overall form and proportions before generating a polygonal surface. Introduced in ZBrush 3.0 in 2007, ZSpheres revolutionized base mesh creation by allowing non-topological sketching that adapts to user intent, particularly for characters and creatures. The core begins with selecting the ZSphere tool—a distinctive two-toned red sphere—from the Tool palette and drawing it onto the to establish the root element, followed by entering Edit mode via the 'T' key. In Draw mode (activated by 'Q'), users add child ZSpheres by clicking and dragging from a sphere's surface, with options to maintain the parent's size by holding Shift or reposition by holding Ctrl; each child connects to exactly one , forming a unified chain that ZBrush treats as cubic primitives during processing. Proper attachment to sphere faces (rather than edges or corners) ensures clean , and the root ZSphere acts as a non-rendering placeholder that must have children at both poles to fully enclose the geometry. Adaptive skinning converts this skeletal structure into a quad-dominant , where the density and flow of are influenced by the spheres' positions, sizes, and connections, promoting smooth, organic topology without manual at the outset. Users preview the skin in real-time by pressing 'A', which generates a temporary viewable at adjustable resolutions to assess form and detail potential before committing. Adaptive sizing further enhances flexibility, as larger spheres yield broader surface areas with lower polygon density, while smaller ones concentrate detail, ideal for refining limbs or features in organic designs. Symmetry tools streamline bilateral creation by enabling axis-specific mirroring in the Transform palette, such as along the Y-axis for humanoid torsos, where adding a sphere automatically duplicates it across the plane for efficient, mirrored builds. For instance, constructing a basic humanoid involves starting with a central spine sphere, enabling Y-symmetry to add torso elements, then switching to X-symmetry for paired limbs like arms and legs, with intermediate "link spheres" for joints like elbows. Once unified (via the Unify button to merge disconnected chains), the final adaptive skin is created through the Tool > Adaptive Skin menu, producing a editable SubTool ready for sculpting; subsequent updates, such as in ZBrush 3.5 with ZSpheres II, enhanced capabilities for denser, more precise meshes.

Shadowbox

ShadowBox is a box-modeling tool in ZBrush designed for rapidly creating base 3D forms from 2D sketches by extruding volumes from a cubic structure. To set it up, users select a Polymesh3D object and activate ShadowBox through the Tool > Geometry menu, then draw curves using mask brushes on three orthographic views—front, side, and top—to define the silhouettes that project inward toward the center cube. This process dynamically generates a 3D mesh by intersecting the masked areas across the planes, effectively extruding a solid volume from the initial cube while leveraging pixol-based projections for view alignment. Resolution in ShadowBox is controlled via the ReMesh Resolution slider, which determines the density of edge loops and the overall count of the resulting , with a default setting of 128 creating a 128x128x128 cube. Lower resolutions produce rougher, low-poly approximations suitable for quick blocking, while higher values enhance detail and snapping accuracy to the drawn . Snapping is facilitated by tools like LazyMouse and Backtrack for precise alignment, ensuring masks adhere closely to sketches and only overlapping masked regions form the final . Additional controls, such as the Polish slider, allow for edge sharpening or softening, and enabling Polygroups automatically segments the for easier manipulation. For combining multiple ShadowBox instances, users can employ boolean-like operations by creating separate SubTools as references, viewing them with Ghost transparency, and merging the resulting meshes manually to build complex forms. This approach supports iterative blocking without direct boolean integration. ShadowBox is particularly ideal for hard-surface modeling or conceptual blocking, providing low-resolution primitives ready for subsequent sculpting and topology cleanup with tools like ZRemesher.

DynaMesh

DynaMesh is a dynamic remeshing system in ZBrush that enables topology-independent sculpting by automatically the in real time as the artist works, allowing for seamless addition or subtraction of volume without manual retopology interruptions. This tool is particularly suited for early-stage, free-form modeling where creative exploration takes precedence over precise topology control. At its core, DynaMesh employs a voxel-based to remesh the , converting the model into a uniform distribution of polygons while preserving overall and integrity. To activate remeshing, users hold the Ctrl key and drag across the canvas in Draw mode, which updates only the modified areas for efficiency; masks must be cleared beforehand to ensure full application. The resolution is adjusted via a dedicated slider, ranging from low values for quick iterations (resulting in fewer polygons) to higher settings that support up to approximately 24 million polygons per SubTool, limited by a 2048×2048 voxel cube per face. Additionally, freeze groups allow artists to mask and protect specific PolyGroups—visible via PolyFrame (Shift+F)—treating them as separate shells within a unified sculptable . Introduced in ZBrush 4R2 in September 2011, DynaMesh revolutionized sculpting workflows by eliminating topology barriers, and subsequent versions have enhanced its performance through faster remeshing and better handling of high-resolution models. It can be applied to base meshes generated from tools like ZSpheres for initial blocking. However, its uniform polygon density provides less control over edge flow and compared to manual methods, making it less ideal for final detailing where tools like ZRemesher may be used post-sculpt for refinement. Activation also deletes existing UVs and may degrade texture quality at lower resolutions, though Polypainting is supported.

ZRemesher

ZRemesher is an automated tool in ZBrush designed to generate clean, quad-based from high-poly sculpts, optimizing meshes for further editing, subdivision, or export. It analyzes the surface to create an even distribution of polygons while preserving essential details and flow, making it ideal for preparing models for game development or pipelines. Introduced in ZBrush 4R6 in 2013, ZRemesher revolutionized automatic by evaluating curves in the mesh to produce denser, more uniform compared to previous methods. A major update arrived in ZBrush 2019 with ZRemesher 3.0, enhancing support for hard-surface models, particularly those derived from Live Boolean operations or CAD imports, through improved and crease preservation. Key to its functionality are curve-based guides, drawn using the ZRemesher Guide brush, which direct flow along desired paths to refine the natural of the model. control is achieved via PolyGroups, which define local regions for targeted distribution, allowing artists to influence where higher or lower detail is needed without manual intervention. The Adaptive Size option dynamically adjusts counts based on geometric , ensuring efficient results that balance detail and performance. To preserve critical details such as hard edges, ZRemesher employs Freeze Groups and Freeze Border modes, which maintain boundaries and grouped areas during remeshing, alongside Detect Edge and Keep Creases functions that protect sharp features in hard-surface workflows. In practice, artists apply ZRemesher to subtools via the palette after initial sculpting stages, such as DynaMesh, to produce game-ready or animation-optimized with quad-dominant meshes suitable for UV unwrapping and deformation. It also offers poly reduction variants through adjustable target counts, providing flexibility for varying levels of optimization. As of November , Maxon has announced a new and UV Editor for later release in 2025, which will enhance workflows including integration with ZRemesher.

ZModeler

ZModeler is a collection of brushes in ZBrush designed for creating precise hard-surface models and base meshes at low polygon counts. Introduced in ZBrush 4R7 in February 2015, it bridges traditional techniques with ZBrush's sculpting paradigm by providing intuitive tools for dynamic shape generation without requiring extensive manual selections. The system operates through a combination of Targets—such as single polygons, PolyGroups, or edge loops—and Actions, enabling thousands of modeling operations via . Key actions include Edge Extrude, which extends selected edges to add new while maintaining clean , ideal for building protrusions on mechanical components. QMesh provides adaptive subdivision during extrusion, allowing users to fuse adjacent polygons, remove internal faces, or extract isolated islands, which helps in refining complex forms efficiently. Additionally, Polish by Groups smooths surfaces within defined PolyGroups, preserving sharp edges between groups for controlled hardening of surfaces. In typical workflows, facilitates low-poly blocking to establish overall forms and proportions, serving as a foundation before transitioning to higher-resolution detailing via DynaMesh or sculpting brushes. This approach ensures efficient from the outset, particularly for hard-surface assets like vehicles or . It can integrate with ZRemesher for automated topology refinement on completed base meshes. ZBrush 2025.2 introduced significant enhancements to , including new presets for storing and accessing custom configurations, a dedicated Selection Action Mode for rapid targeting, and improved Insert Edgeloop snapping that aligns loops to centers or custom points. These updates, along with refined creasing options and clearer visual feedback, bolster beveling, insertion, and tools, making it more effective for intricate mechanical parts. ZBrush 2026.0, released in September 2025, further improved with enhanced interactions and new creasing options for Insert edge loop, Insert multiple edge loops, and Inset face.

Sculpting and Texturing Features

3D Brushes

ZBrush's 3D brushes form the core toolkit for digital sculpting, enabling artists to displace and detail polygonal meshes through intuitive, pressure-sensitive strokes that simulate traditional clay manipulation. These brushes operate directly on the geometry of a model, altering vertex positions to build volume, carve details, or refine surfaces without requiring underlying changes during the process. The Standard serves as the foundational tool for general displacement, pushing vertices outward to add material in a clay-like buildup effect, while holding the inverts the action to carve inward and subtract volume. For more controlled accumulation, the ClayBuildup applies alpha-based detailing to sculpt surfaces smoothly, avoiding common artifacts like stretching; its Z Intensity governs displacement depth, and the Clay fine-tunes buildup amount for organic forms. The Dam Standard , conversely, pulls adjacent vertices together to create depressions, wrinkles, or sharp edges, enhanced by an that adjusts the depth of the dam effect for precise carving. Complementing these, the hPolish smooths high-frequency toward an average surface level, promoting a polished, metallic appearance ideal for hard-surface refinements. Modifiers such as Focal Shift further refine these brushes by adjusting the falloff curve, concentrating effects at the stroke center for sharper control over transitions. Alphas and textures integrate seamlessly with 3D brushes to enable custom stamping, where images define the brush's shape and intensity—darker areas displace more aggressively—for imprinting patterns like scales or pores onto the . The Lazy Mouse feature enhances precision by constraining strokes to a virtual guide line trailing the cursor, producing smooth curves and steady lines; settings like LazyRadius determine the guide's length for broader control, while modes such as Spline or Path allow adaptive curving based on Track values, reducing hand tremors in detailed work. In multi-part models, subtool management supports efficient brush application through Append to add new elements from external files, MergeVisible to combine visible subtools into a unified , and masking to isolate specific areas—painted via Ctrl+drag—for targeted displacement without affecting the whole. These brushes maintain performance on high-poly counts via compatibility with DynaMesh, which dynamically retopologizes the during sculpting to prevent stretching and ensure even subdivision levels up to millions of polygons. For optimal results, from tools like ZRemesher provides a clean base, while subsequent Polypaint texturing applies color directly over the displaced .

Polypaint

Polypaint is a vertex-based painting system in ZBrush that enables artists to apply colors and materials directly to the surface of a 3D model without requiring UV coordinates or texture maps upfront. This approach stores color data at each vertex, allowing for seamless integration with high-density meshes commonly used in digital sculpting. Polypaint is particularly suited for organic models, as it avoids the artifacts associated with traditional UV unwrapping. The workflow begins with preparing a base , often derived from sculpting processes, ensuring it has sufficient density to capture fine details—typically millions of for intricate work. To start , artists enable the Colorize option in the Tool > Polypaint subpalette, which activates vertex color display and initializes the with a neutral if unpainted. With ZAdd and ZSub disabled to prevent accidental changes, proceeds using selected brushes while adjusting the RGB Intensity slider (set to 100 for full opacity) to control color application strength. Blending modes facilitate color mixing, such as overlay or multiply, applied through brush settings or layer adjustments for nuanced effects. For non-destructive edits, 3D Layers store Polypaint data separately, allowing opacity tweaks, layer muting, or blending between multiple paint sessions without altering the base model; changes are recorded in Record mode and can be baked via Morph Targets if needed. Key tools include standard painting brushes modified by stroke types for precise control: the DragRect stroke enables rectangular fills or gradients by dragging a selection box, blending the primary and secondary colors along the edges for smooth transitions. RGB Intensity governs the saturation and coverage of applied colors, while can shape brush tips for patterned . Projection from the canvas is achieved via Spotlight, which loads images or textures for , or through the Polypaint From Texture button to convert 2D assets directly onto the model surface. These tools support iterative refinement, with options to erase via Alt-key holds or ZSub for localized adjustments. For export, Polypaint data can be baked into texture maps using the UV Master plugin, which auto-generates optimized UVs and transfers vertex colors to 2D images without seams or rework, even for high-resolution outputs like 8K maps. Alternatively, Spotlight facilitates baking during projection sessions, or the Texture Map > New From Polypaint command creates maps directly for external applications. This process preserves detail fidelity across geometry changes, enabling seamless integration with rendering pipelines. The primary advantages of Polypaint lie in its seamlessness and efficiency for organic forms, eliminating UV-related distortions and allowing painting on dynamic, high-poly meshes without resource-intensive unwraps. It conserves system memory by deferring texture creation and supports adaptive workflows where geometry or UVs can evolve post-painting. This makes it ideal for character and creature design in , , and , where fluid iteration enhances artistic expression.

Fibermesh

FiberMesh is a specialized tool in ZBrush designed for creating real 3D geometry representing , , fibers, or directly on a support . Unlike rendering-based effects such as the Fiber material, FiberMesh produces editable polygonal strips that can be sculpted, styled, and exported for use in other applications. It was introduced in ZBrush 4R2b in January 2012 as a patch update, enabling artists to generate and groom fibrous elements with greater control and realism compared to previous shader-based approaches. To create FiberMesh, users apply PolyPaint masks or draw curves on a base mesh to define growth areas, then access the Tool > FiberMesh sub-palette to generate fibers. The process begins with a Preview mode that displays temporary fibers based on parameters like density (controlled by DeV sliders), length, thickness variation along the fiber profile, and imbedding into the support mesh. Modifiers such as By Mask (for intensity from PolyPaint values) and By Area (for regional length and thickness adjustments) allow precise control over fiber distribution and variation. Once satisfied, the Accept button converts the preview into a permanent SubTool composed of thousands of fiber strips—up to 80,000 or more for dense applications like human hair—ready for further editing. Subsequent updates have enhanced support for higher fiber counts, enabling denser simulations without significant performance degradation. Grooming and styling occur by treating the FiberMesh SubTool like any other , using dedicated Groom brushes for tasks such as moving, scaling, and clumping fibers. Brushes like Move, Scale, and Clump adjust fiber positions, lengths, and groupings, while settings in the Brush > FiberMesh sub-palette (e.g., Forward/Inverse Propagation) propagate changes along fiber lengths without distorting tips or roots. Collision detection is handled via the Front Collision Tolerance parameter, which prevents fibers from intersecting the support mesh during grooming by enforcing a at the base. , Horizontal/, and Clumps modifiers further refine styling for natural flow and bunching. For rendering, FiberMesh integrates with ZBrush's Best Preview Render (BPR) system, where settings like Root/Tip Anisotropic, Subdivision levels, and Sides per fiber control shading and detail without converting to full . Users can simplify display with Fast Preview or visibility percentages via PRE Vis for performance. Export options include converting sculpted fibers to guide curves (in formats like OBJ, FMG for ZBrush, or native for Maya, , and LightWave) for integration with external hair systems, or generating vector displacement maps for baking details onto lower-resolution models. UV unwrapping is supported post-generation for texturing individual fibers.

Rendering and Integration

Best Preview Render

The Best Preview Render (BPR) is ZBrush's integrated rendering engine designed for high-quality, real-time visualization of 3D sculpts directly within the edit mode, enabling artists to assess , materials, and surface details without leaving the sculpting environment. Introduced as a core feature, BPR leverages ZBrush's pixol-based preview system to produce photorealistic outputs while maintaining workflow efficiency. Key features of BPR include support for to simulate realistic light bouncing, for enhanced depth and contact shadows, to model light diffusion through translucent materials like skin or wax, and MatCap materials for spherical environment mapping that provides quick, non-physically based previews. These elements allow for dynamic rendering of complex scenes, including transparent SubTools, HD Geometry subdivisions, and 3D Fibers for hair or fur simulation, all computed in software without requiring external . BPR offers adjustable settings to fine-tune output quality, such as controlled via the SPix slider for smoother edges at full document resolution, shadow quality modifiers for sharper or softer cast shadows, and post-effects including to simulate camera focus, along with filters for sharpness, , and non-photorealistic rendering styles like outlines or textures. These options are accessed through the Render palette, where effects like and can be toggled and intensity-adjusted for balanced performance. In terms of workflow, BPR operates non-destructively, automatically updating renders as sculpt changes occur, which supports without re-rendering from scratch; artists can abort ongoing renders with the to revert to standard preview mode. Outputs include high-resolution images and separate render passes—such as depth, , and shadow maps—that can be exported for compositing in tools like Photoshop or applied to OBJ exports for further texturing in other applications. As of the ZBrush 2025 updates, BPR benefits from optimizations, enabling full rendering capabilities on mobile devices with the desktop-equivalent system, though advanced filters like certain post-effects may be limited compared to the desktop version. BPR remains a CPU-based renderer, distinct from GPU-accelerated options like the integrated , prioritizing across hardware configurations.

Illustration Tools

ZBrush's illustration tools enable artists to convert 3D models into 2D or illustrations suitable for and visual development, leveraging the software's pixol-based for depth-aware . These tools facilitate the projection of sculpted onto a flat while preserving artistic flexibility for line work and referencing. The Flatten brush, accessed through the Draw palette in 2.5D mode, projects 3D models onto the by collapsing depth information into a layered pixol representation, allowing for efficient creation without losing essential form details. This projection maintains color and material attributes from prior Polypaint sessions, enabling seamless integration of painted textures into illustrative workflows. Artists can adjust transparency and settings during flattening to refine the 2D output, supporting rapid on character designs or environmental sketches. Line art generation in ZBrush utilizes edge detection within the Spotlight feature, added in version 2022, to highlight contours from imported images or models for stylized illustrations. This tool applies interactive edge detection to isolate boundaries, producing clean lines that can be customized with styles such as sketchy or varied thickness variations through brush modifiers and alphas. Users can restore original images post-detection, facilitating non-destructive editing for dynamic line work in concept phases. Spotlight also serves as a for illustrations, allowing artists to load and rotate multiple images on the for precise alignment during drawing or projection. By disabling projection mode, images function as rotatable overlays, aiding in maintaining proportions and perspectives when creating 2D from 3D references. Illustrations produced with these tools can be exported in high-resolution formats including and TGA, with options to include depth maps for post-processing in external software like Photoshop. The export process via the palette captures the full pixol data, ensuring depth information accompanies color and line elements for versatility.

GoZ and Export Options

GoZ, short for GoZBrush, serves as a dynamic bridge enabling seamless one-click transfer of 3D data between ZBrush and compatible applications, utilizing a GoZ . This integration facilitates the exchange of meshes, UV coordinates, and Polypaint data, which is converted to texture maps upon transfer, allowing users to maintain sculptural details across workflows without manual file handling. Supported applications include (versions 2015–2025 on Windows and macOS), (2016–2025 on Windows), Maxon (S26/2022 and later), , Modo (10–11), and others, with options to send the current Tool/SubTool, all SubTools, or only visible ones. In the 2025 release of ZBrush, GoZ functionality expanded to include support for ZBrush on , permitting bidirectional file transfers between the iPad app and desktop versions over a local network, provided both devices use the Maxon App for discovery. Additionally, the introduction of Python scripting in ZBrush 2026 enables custom automation for exports, such as batch exporting SubTools to formats like ZPR via scripts like mod_subtool_export.py, enhancing flexibility for advanced users. Beyond GoZ, ZBrush offers direct export capabilities through the Tool palette's Export button, supporting formats such as OBJ, (via plugin, including SubTools, maps, and Polypaint), STL, DAE, and for 3D models. Texture maps, including diffuse (from Polypaint), normal, and displacement, can be generated and exported using the Multi Map Exporter plugin in formats like (8-bit or 16/32-bit), PSD, BMP, TGA, and , with options for subdivision levels, adaptive sizing, and UV smoothing to preserve detail. For optimizing high-poly models prior to export, the Decimation Master plugin reduces polygon counts while retaining sculpted details, making files more suitable for external applications or . Import options in ZBrush allow integration of external meshes for further sculpting, supporting formats like OBJ, (including meshes, maps, and blendshapes), and STL via simple file selection in the Tool palette or plugins. This enables users to import optimized by tools like ZRemesher for refinement or to load models from other software for detailing.

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