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  1. This is part of a serie of tutorials about a Low Poly Scenario I created for a game. Feel free to ask any questions. Thanks for watching!
  2. From the album: "Elvis" War Boys Car/Mad Max

    Finished UVs, w/ UV checker render

    © Javis Jones 2016

  3. From the album: "Elvis" War Boys Car/Mad Max

    Finished unwrapped UVs

    © Javis Jones 2016

  4. From the album: "Elvis" War Boys Car/Mad Max

    Finished modeling portion of "Elvis"

    © Javis Jones 2016

  5. From the album: "Elvis" War Boys Car/Mad Max

    Finished modeling portion of "Elvis"

    © Javis Jones 2016

  6. From the album: "Elvis" War Boys Car/Mad Max

    WIP of the 50cal

    © Javis Jones 2016

  7. Hey everyone, This is thread to follow the development of a project that I have been developing called Gladiotron. It is an original project and hopefully the first of many. My pipeline consists primarily of Blender and 3D Coat, with some other applications for authoring PBR textures and then ending up in Unity. Our target platform is PC and Console initially, then possibly mobile afterwards. I have a few goals with this project. 1. To engage the 3d Coat and Blender communites 2. To share development progress on the art assets and the game 3. To work with the 3D Coat team in a similar way to the way the Blender Foundation creates film projects to drive the development of the application
  8. Okay, I throw my hands up. Calling for open advice! So I've been working on a weapon model and I drew up some reference, brought it into 3D-Coat, ready to do some voxel sculpting. Almost immediately I hit a brick wall. So here's what I'm trying to pull off. This is a screenshot of the sculpt shortly after doing a little cutting to match the silhouette. As you can see from the reference drawing, the sword's blade transitions from a thick depth at the back to a tapering edge at the front. My plan was to narrow that thick front plane down to a fine edge...you know, like any sword. Here's another image: The complexity of this edge is such that I have yet to find any great method of cleanly performing this operation. Pose tool, cutting off at specific angles, rebuilding the edge with curves, etc...all of these methods have been failures or felt really impractical. The only other thing I've been able to think of so far is just getting in there and free handing it to perfection. I went on a number of searches to find advice on blades, beveling in general, etc...I didn't turn up much help. I found a lot of advice on beveling, but none of the methods were quite adequate to recreating this exact geometry. Frustrated, I just went ahead and built the thing with traditional modeling. I'll put a shot of that up just as a further example of how I wanted it to look: But, the fact that I couldn't figure out a great solution to this really drives me crazy and I'm still trying to figure it out. I'd like to be able to rely on 3D-Coat from the ground up, since I really love the feel of working in it otherwise, but hitting such a hard wall right away on a pretty simple model made me feel like I ought to be using it in more of a secondary role. I'd love to see if anyone has any great advice here; anyone know how to pull this off nice and cleanly? Let me know if I can clarify anything for you.
  9. Всем привет! Представляю работу, созданную в процессе освоения этого замечательного программного продукта )) Почти всё сделано в 3d-coat.
  10. Hello guys! I am really happy to use 3d coat and this is my favorite program for texturing, retoping and UVs, BUT For the competition i need texture atlas and i totally can't understand how to do it. I use UV room a lot, but still not very good in some functions of 3d coat. What i want - for example: i have 4 512 textures. All models have their own UV and they textured in Metallic PBR + AO. (3-5 textures for each one asset). Question - how to create 1 1024 texture for that models? I know only long way - create 1024 texture in Photoshop, past 4 textures and place UV's by hands with 0.5 scale. But I am sure that this is stupid action and there are ways which will be better and faster in 3d coat. Or may be there are another ways . Please, if it possible, link any video or write step by step. I will really appreciate help, thx
  11. artofcharly

    Hedgehog

    More images here - https://www.artstation.com/artwork/8Rlox Hello, everyone! This is my last personal project which I did in my spare time. Hedgehog modeling and sculpting - 3dCoat Fur and needles - Ornatrix plugin Grass - Forest Pack Render - Octane Hope you liked it! You can buy this model soon... Best regards, Andrew!
  12. From the album: Polaris Sector game. Human race

    Model for Polaris Sector game. Race - Humans. Video presentation here - https://youtu.be/KW5JNs_2NUA 3DCoat - Texturing, Shading and Materials. Marmoset Toolbag 2 - Render Zbrush - Modeling.

    © artofcharly

  13. From the album: Polaris Sector game. Human race

    Model for Polaris Sector game. Race - Humans. Video presentation here - https://youtu.be/KW5JNs_2NUA 3DCoat - Texturing, Shading and Materials. Marmoset Toolbag 2 - Render Zbrush - Modeling.

    © artofcharly

  14. From the album: Polaris Sector game. Human race

    Model for Polaris Sector game. Race - Humans. Video presentation here - https://youtu.be/KW5JNs_2NUA 3DCoat - Texturing, Shading and Materials. Marmoset Toolbag 2 - Render Zbrush - Modeling.

    © Artofcharly

  15. You can see 3D Coat used in the Modeling/Sculpting process starting at the 0:15min mark. Pretty interesting process from there. http://www.sciencechannel.com/tv-shows/how-its-made/videos/toy-figurines/ Starting with detailed drawing and computer renderings, casts of toy figurines are either 3D printed or hand carved out of wax. The casts turn out hundreds of textured parts that are assembled and painted. Source
  16. From the album: FanArt

    This is some kind of self portrait featuring the upcoming Marvel's Civil War movie. I'm joining Team Captain America! Also this is my first character render. The next one will be Iron Man - or should he be Iron Boy?
  17. From the album: Character Animation & Modeling

    Morgan Mascot Creature Character Modeling by GameYan Studio

    © GameYan Studio

  18. Taros

    Warhammer

    From the album: Artworks

    This is a result of one of my tutorial series you can find on my YouTube-Channel. My YouTube-channel: http://bit.ly/1z0f2dW

    © Christoph Werner

  19. From the album: FanArt

    First render for an upcoming project. Hope to show more very soon. Hope you like!
  20. Hello. I discovered 3d-Coat 16 days ago. I tried several software when doing retopology character. But when I started to do retopology in 3d-Coat I thought that this is where the developers really been working hard. Retopologiyu in 3d-Coat is a true delight. Now I am studying other features of 3d-Coat. I must say that the learning process is incredibly easy. This is my character for which I did retopology in 3d-Coat. I want to make my mesh as accurately as possible describes the shape of the body, with a minimum number of polygons. 10014 points of base mesh. WIP
  21. Just curious how do you model really thin wins like a lizard, pterodactyl, or dragon might have?
  22. Hi Everyone, I'm re-releasing all of my videos on Vimeo On Demand (thanks to some pesky new VAT stuff...). The first one is Maneuvering Points Vol I, where I cover all sorts of stuff related to solving poles and While I use Modo for the video, I made this video as program agnostic as possible. 3DC also has all most of the tool equivalents and is capable of reproducing the same results easily. Here's the link (or just click the image): https://vimeo.com/ondemand/maneuveringpoints1
  23. Hi all!! i would like to post my second sculpt on 3dcoat, still its been 50/50 3d coat and 3ds max, im still thinking how to sculpt the fur, still need to learn a lot. all C & C are welcome.
  24. Hey Guys, I just made a new tutorial on Autoretopology. http://www.learn3dsoftware.com/3dc_4_vol_14_autoretopo_secrets.htm In this fourteenth video volume of 24 volumes 3D Instructor Adam Gibson introduces the 3D student to 3D Coat's powerful Auto-Retopology Tools. So why is Auto-Retopology a needed process? The best 3D texture artists in the world know that in order to have flawless textures you need near perfect UV maps. The problem is that with Organic Sub-D models a process called "Retopology" is usually needed to do that. But the other problem that lies within that is that "Manual Retopology" is just as time consuming as UV Mapping, if not more in some cases. So this is where "Auto-Retopology" comes in to help speed up the process. Table of Contents for Volume #14 Chapter 1- Intro Chapter 2- What is Auto-Retopology? Chapter 3- How to Access the Auto-Retopology Wizard for Polygonal and Voxel Objects (Part One) Chapter 4- How to Access the Auto-Retopology Wizard for Polygonal and Voxel Objects (Part Two) Chapter 5- Poly Density Masking Chapter 6- Guide Strokes for Redirecting Poly Flow Chapter 7- How to Export your Mesh to Other Software and Clean-Up Chapter 8- Hard Surface Hard Edge Auto-Retopology Chapter 9- Applying Auto-Retopology to a Parasaurolophus Dinosaur Chapter 10- Final Running Time: 2hrs. 10 mins. High Quality (Screen-Res 1920 x 1080 pixels) Video Format: MP4 (.mp4) Level: Beginner
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