Re(Calibrator) Phase3 part2

After making the digital 3D model of the geometry, I took it into another software called Z-Brush. The main fascination with Z-Brush is the Z depth brushes. Z-Brush is a digital sculpting and painting program, that facilitates the interaction of 3D models, 2D images and 2.5D Pixols. http://www.pixologic.com/home.php

For this reason, Z-Brush is often referred as the 2.5 dimensional modelling tool. This software is like the Mobius Strip of the digital modelling world.
As I have already mentioned, Z-Brush is for digital sculptors and is not at all a common tool for an architect, but used mostly for character designing for game industry, films etc.

Z-Brush character by Majid Esmaeili

Character for "Gears of War" (art director Chris Perna)

So how does it work? Here is a little example: I have created a sketch, and then placed in a Wacom Intous graphic tablet.

A generic sketch placed under the graphic tablet sleve

Afterwards the sketch is "drawn" in Z-Brush using the Z depth brushes. The graphic pen is pressure sensitive, which means the brushes correspond to touch of the hand, thus making the curving and sculpting process very intimate and alive.

Drawing in Z-Brush with graphic tablet

As a result, the digital sketch that is reproduced in Z-Brush, has a depth or thickness, since different Z depth brushes with various Z intensities have been used.

Z sketch with depth

This is the case with working off the 2D geometry, however the same is possible with a 3D geometry, which is what I am going to find out. I have exported the geometry from 3Ds Max and started working with Z brushes to generate some modifications.

3D geometry exported into Z Brush 

It is very curious working on the surface of the existing geometry, with a graphic pen carving into the form.

The same geometry after smoothing with Z brushes 

With varying the resolution and smoothness, I created number of topological "skins" of the geometry.

The "melting down" skin 

The "more solid and fractured" version

The "skin on bones" version

It is a magnificent sensation to observe the immediate response of the change in geometry in accordance to movement of fingers and application of the pressure. It really feels like a real time sculpting, only there is so much less mess.

Another aspect of my research indicates a potential to use the time as the 4th element of the "four-dimensional" matter. These skins might allow me achieve smooth modifications of the surface and create an animated view of the changes, that are taking place during a certain period of time. 

The dynamics of the skins

There is definitely a great potential in experimenting with this software, as it is has an insight into a 2 and a half dimensional space. It enables drawing a two dimensional lines on a 3 dimensional surface with the help of 2.5 dimensional brushes, whilst using the body gesture and hand pressure.