Congratulations, you’ve completed this book and are now familiar with the key concepts of using ZBrush for games.

You’ve learned how to tackle very different sculpting tasks and how to solve them, from organic to hard surface sculpting. Your future tasks as a game artist will deal with the same problems and solutions we did because it’s either organic, inorganic, or a mix of both.

Remember the graphic of a game asset workflow with ZBrush from the first chapter? Let’s look at it in retrospect:

The first model we created was the haunted tree, which was modeled from ZSpheres and then detailed and even textured in ZBrush. This workflow is closer to the right one in the preceding image.

The second model, the drone, was started as a rough base mesh in Blender and detailed in ZBrush. This was the classical way of modeling before there was ZSketching or Shadowbox. This resembles the workflow example on the left in the previous image.

The third model, the brute, was created entirely in ZBrush with ZSketch. Like the tree, this is closer to the right example because it solely relies on ZBrush for modeling.

The fourth and last model, the harvester, was also entirely done in ZBrush introducing mesh creation with Shadowbox.

As you can see, with each model we explored another way of creating a mesh and learned when to choose which workflow. So, hopefully, this book gave you a solid understanding of the different workflows and how ZBrush can be used in a game pipeline.

By now, I hope you see ZBrush not only as a modeling tool but rather an extension to your creativity. It doesn’t stop you, but rather encourages you to express yourself freely with as few technical restrictions as possible.