TimmyZDesign's post in Settings for importing a low poly mesh for subdivision painting was marked as the answer
How about:First import the subdivided high poly into the Sculpt Room, paint on it with the vertex paint method, then Import the low poly (with its UVs) to the Retopo Room, then Bake the vertex paint to the low poly, which will send the low poly to the Paint Room (with its UVs), and then finish up painting any last things on the low poly in the Paint Room. Finally export the low poly with texture maps.
TimmyZDesign's post in Copy [objects] along path? was marked as the answer
Use the Curve Tool. You can also create your own objects and then have them repeat over the length of the curve. Check out the Splines panel and the Models Panel. You put your custom objects in those panels, and then you can choose them for use in the Curve Tool.
TimmyZDesign's post in Workflow for creating UVs from High Poly Object with Polypaint from ZBrush ? was marked as the answer
Here is a tutorial (with pictures) showing my workflow for bringing a polypaint object from Zbrush into 3D-Coat, making retopo and UVs, baking the polypaint onto the retopo, and finally exporting it all back out of 3D-Coat. Of course there are other ways to do it, but this workflow works best for me in most cases.
I am in Zbrush and I just finished polypainting my model. I didn't bake it down to any UVs yet:
Here you can see the model is very high poly and subdivided to millions of polygons:
Here you can see the polypaint on the high poly mesh:
So now I export the OBJ out of Zbrush with the polypaint info stored in the OBJ:
Step 2: Now I open 3D-Coat and simply close the initial workflow choices pop-up. Then I go straight to the Sculpt Room.
Step 3: While I am in the Sculpt Room I go to the File menu and choose to import the OBJ that I just exported out of Zbrush earlier:
Now the OBJ is in 3D-Coat:
If I turn on Wireframe in 3D-Coat, I can see that the poly count is still very high:
Step 4: Now I go to the Retopo Room:
Step 5: In the Retopo Room I import the low poly version of my mesh. My low poly version already has UVs.
The low poly mesh is imported and sits directly on top of the high poly mesh. The UV seams are bright green lines:
If you don't have a low poly version of your mesh yet, then make one with the retopo tools in the Retopo Room:
After making your retopo mesh, then make the UVs with the UV tools in the Retopo Room:
Step 6: Now I Bake the polypaint onto the UVs of the Retopo mesh. I go to the Bake menu and choose "Bake with a normal map":
Step 7: Now I go to the Paint Room to see how the baking turned out:
I can see that my textures were created and put onto layers in the Layers Panel:
When I look at the mesh however, I see that it looks strange. It looks strange because I can still see the high poly mesh underneath the low poly mesh:
I need to go to the View menu and turn OFF "Show Voxels in the Paint Room":
Now it looks ok. I only see the low poly mesh in the viewport now. I can see the polypaint was baked onto it.
Hmmm, maybe it doesn't look very high res...that's because I chose 2048 for the texture size, and all of my UVs are on one tile. Maybe I will redo the bake in the future and increase the texture res, or use multiple tiles, but for now this will do.
If I turn on Wireframe in the Paint Room (View menu), then I can see the low poly wireframe of my mesh:
Step 8: For now I am done with texturing, so I will send the low poly OBJ out of 3D-Coat with its textures by going to the File menu and choosing "Export Object and Textures":
TimmyZDesign's post in Unwrapping a ZBrush Model That Has PolyPaint was marked as the answer
First import the high poly with polypaint from Zbrush into the Sculpt Room using the "import for vertex painting" option.
Then go to the Retopo Room and import the low poly there. (So then you will actually have the two different versions of the model occupying the same space). You can however only edit the low poly version in the Retopo Room. Make your UVs on the low poly. There is a full set of UV tools in the Retopo Room toolbar, but they are context sensitive so some might not be available at first. Then from the Retopo Room choose to bake your vertex paint (a.k.a. polypaint) to the low poly and that's how you will send it to the Paint Room. There are various bake options in the Retopo Room's menu, but you most likely want to do a "per pixel paint" option. Then your low poly model will finally be in the Paint Room. Go to the View menu and turn off "show voxels in the paint room" to see only the low poly version with the polypaint baked onto it.
TimmyZDesign's post in 3D Coat feature set inquiries was marked as the answer
1. Yes it can do automatic UVs and they seem to be pretty good. You simply click on a button and then it is done. There aren't any settings.
1.c. Manually creating UVs in 3D-Coat is very easy (I'm serious), so I would recommend just doing that instead of using the automatic feature.
2. Yes there is an automatic smoothing option for normals where you can enter a desired angle. This is available when importing models into the Paint Room.
3. I don't think you can enter an angle for that, but there are various ways to relax/decimate/smooth the mesh either by brushing a specific area, or applying the function to the entire mesh. The degree to which the relax, decimation, or smooth occurs can be controlled, but I don't think it is based on angle, it is a percentage value.
4. You can automatically retopologize a triangle mesh into quads (this function also has multiple settings so the user can get desired results), or you can perform that retopology manually to get even better results. That retopologized mesh can then be subdivided in an external application if desired. The automatic retopology function (although good) is not perfect however, so I would recommend manual retopology to get more exact results. Manual retopology in 3D-Coat is very good.
6. Yes it supports Ptex, but I recommend testing it to see if it suits your needs because the implementation in 3D-Coat is somewhat different than other apps which support Ptex. (It might actually even be better than what you were expecting...or worse...depending on your needs).
Overall I recommend that you download the free trial and test 3D-Coat for yourself. My brief answers are not adequate enough for you to see if your expectations will actually be met.
TimmyZDesign's post in Any project-based tutorials introducing the basic workflow of 3D-Coat? was marked as the answer
Free project-based tutorial series:
Cristoph Werner's tutorial series:
Don Nash's tutorial series (not yet complete):
Greg Whedon's tutorial series:
Greg Smith's tutorial series:
Paid tutorial series:
Tutorials by Robert Alvord:
Tutorials by Javis Jones:
Tutorials by Adam Gibson
Tutorials by Pavel Lazovski (in Russian):
Lots more videos on the 3D-Coat YouTube channel:
This page has tutorials too:
More Javis Jones collections of videos on YouTube and Vimeo:
Lots of other 3D-Coat videos on Vimeo:
TimmyZDesign's post in Using the "Fill tool" on to seperate objects was marked as the answer
You could try cloning the transition area (with the Clone Tool). Then use the Fill Tool on the areas you want to smooth out (on the clone), and when you are done, merge only the clone with the pillar, but not the skull (therefore leaving the skull free), but then you will have a much smoother transition area. If you want, you can just clone a small part of the area you want to blend. You can see that in the video below:
TimmyZDesign's post in hello =) was marked as the answer
Right now polygons are still the most popular.
There aren't many digital content creation apps that can be used to make voxel models. Maya, 3DS Max, Lightwave, Modo, Blender, Zbrush, 3D-Coat, Rhino, Solidworks, Sketchup, Fusion 360, etc. are all used for making models, either as a polygons, subdivision surfaces, NURBs, T-Splines, etc. but those apps are not generally used for making voxel models.
Voxels are used in fluid and gas simulations, as point cloud data, some scan data, etc. but they are not generally used right now to create models for video games. Video game models (like playable characters, props, environments, etc.) are all polygonal models right now.
If Euclidian releases some video games next year with voxel models in them, it is going to take quite a while for the industry to adapt. People will need new software which can create voxel models, and it will take time for software developers to create those new apps. This transition will take years, so it is pretty safe to say that you can just keep making polygon game models for a long time until voxel models become more popular. Most likely, in the future, you will still be able to keep making polygonal models, and then just convert those to voxel when you are done, or maybe just add some layers inside of your polygonal models which would then be converted to voxels. But these kinds of model conversion tools don't even exist yet, so you don't need to worry about it for a long time. You will do fine with just making polygon models for now. The change to voxels won't happen overnight. If you spend time learning how to make polygon models, you won't be wasting your time. You can probably use most of those same (or very similar) polygonal modeling skills to make voxel models in the future.
TimmyZDesign's post in How can I make a Flower? was marked as the answer
Hello again Austin,
Here is the tutorial you requested (for creating a flower to put on your engagement ring):
Step 1: Go to Voxel Sculpting Room
Step 2: Select Primitives Tool
Step 3: Select the Free Cylinder and Choose 2 x 4 control points.
Step 4: Choose the rectangular stroke mode from the E Panel (Stroke Mode Panel).
Step 5: Use the rectangle to select control points on the cylinder, then a transform gizmo will appear and you can use the gizmo's central cube to scale the points outwards or inwards.
In the image below you can see that only 8 of the possible 16 points have been selected with the rectangle selection mode. They turn yellow when they are selected.
Step 6: Create the following shape by scaling points outwards or inwards and by moving points up or down.
The front view of the shape is the first image, and the side view is the second image.
Step 7: Hit enter on your keyboard to create the object. Then go to the VoxTree and increase the resolution of the newly created object.
The Voxlayer will show [2x] on it, which means that it is twice its original density.
Step 8: Now select the VoxLayer Tool.
Step 9: Select the spline stroke mode from the E panel (Stroke Mode Panel).
Step 10: Also turn on Symmetry across the X axis.
Step 11: The yellow line represents the symmetry plane. Start clicking and placing points on your object.
First roughly create the spline shape that you see in the image below, and then hover over the little floating box to switch into Edit Points mode.
Step 12: In Edit Points Mode you can move the points around to get them to the exact locations that you want.
Step 13: To make points "sharp" right-click on them twice.
Step 14: Finally click on the Apply button in the pop-up, and you will see that the spline is filled in with a gray color. It will be symmetrically created across the X axis.
Step 15: Now change the "Layer offset" and "Thickness" values in the Tool Options panel, and finally click on "Apply".
Step 16: A new voxel layer will be created in the VoxTree and the new object will be added to it. Now delete the old voxel layer that was only used to create the new shape.
Step 17: Now click on the Axial Tool.
Step 18: In the Tool Options panel, choose "5" for the "Axial symmetry order".
Step 19: In the viewport you will see that four additional instances of your original object have appeared. Grab the gizmo at the bottom and move it so that all these instances connect.
These are the "petals" of the flower.
Step 20: Now click on Apply.
Step 21: Done!
TimmyZDesign's post in 5 newby questions about 3dc was marked as the answer
1) Use the Curves tool.
2) Press "e" on your keyboard to get the "e panel" also known as the "stroke mode panel" in newer versions of 3D-Coat. In there is a spline stroke mode for carefully controlling placement of strokes. Choose a "stitch" alpha and use the spline stroke to repeat it across the spline.
3) use the same method as I described in my answer to question number 2.
4) use instancing tool or just clone to another vox layer in the vox tree.
5) go back and forth if you like, but turn on wireframe view to see what happens to the polygon topology when you switch. The mesh will be resampled every time, which will change your topology. In voxel mode the mesh is uniformly subdivided. Therefore the whole mesh must have high resolution to capture detail in voxel mode. In surface mode the mesh can be dynamically subdivided as needed (different parts of the same mesh can have different resolutions).
TimmyZDesign's post in Symmetry problems was marked as the answer
I've recently found out how to get symmetry for transformations/transposing, and I remembered this thread, so I thought I would post it here for people who encounter this problem in the future.
SOLUTION: Use the Pose Tool with "select object" mode in the Tool Options panel.
This solution was provided by Artman in the following thread (more detailed info provided there):