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  1. Hi everyone, I'm creating this topic that may be one of the most important topics for 3D-Coat and maybe controversial. Currently, 3D-Coat has Rooms that allow the execution of a certain task like Sculpt, Paint, Retopo, UVs, Render and etc. 3D-coat acts as if it were different and independent programs in one. This way the problems and confusions in relation to the 3D-Coat workflow begin. I was already a new user of 3D-Coat and at that time I was completely confused the way the program behaved with a Mesh. Why did a mesh appear in a Room and was not present in the other Room? It was as if I used different programs and at the same time did not communicate with each other or that there was no compatibility. I kept wondering how this was possible if I'm using the same program? I had so many questions and doubts about 3D-Coat that I could not understand. The time has passed and I think that new users and even some users who use the program for a certain time still have doubts, can not understand how 3D-Coat works and at certain moments are frustrated. This separation of Rooms also gave rise to the separation of users within our community who use 3D-Coat. I've seen people saying that it was not interesting for them to have certain functionality or tools because they simply did not use that Room. An example of this is people who use ZBrush and then use 3D-Coat to do reptology (perhaps UVs or Painting) and those same people would not be interested in developing and implementing tools in the Sculpt Room. The reason for this is the simple thought that ZBrush offers all those features and will only use 3D-Coat for a certain workflow complement. Again, I repeat, people are free to use the program as best they please. I have nothing against these people. But what does that mean? This means that there will always be one room more developed than the other because people who use one room more than the other will want improvement in that room. It does not matter if a particular room is left undeveloped. This becomes an arm-twist among the users of 3D-Coat and not a union in favor of a strong program as a whole. In my opinion, it would be very important for 3D-Coat to change the direction of its development. This change would be in relation to the workflow and structure of the program. I know it would be difficult, but the solution would be the merging of all Rooms, allowing a single mesh being worked through the whole program without having problems of communication between the Rooms and their respective tools and features. So instead of working in Rooms, 3D-Coat would have Layouts or Menu Sets that could even be customized by users according to their work or task. This merging of Rooms would allow a fluid and interactive workflow between the "Rooms" or better said Layouts. This type of workflow would be the kind of workflow that any user would expect when using a program because it would facilitate usability, efficiency, interactivity and at the same time we could have all the tools, functionalities, and future modifiers (similar to Blender / 3DS-Max have) and addons working together in a harmonious way and that would result in a powerful workflow. Imagine all the tools working in favor of a single Mesh, the freedom that users would have to perform any kind of worklow they wanted and in the end would be a job of extreme quality. This merger would open new and great possibilities for tools and functionalities without breaking the workflow and the most important would be the attention of new users. In my opinion, 3D-Coat is fantastic, but it does not see its potential. What do you think about this merger? Leave here your thoughts, suggestions and opinions on the subject. Thank you.
  2. Dear friends! Let's discuss here the new surface modeling features that are available in build 4.8.35. How can I enable the curve tool functionalities? Edit->Preferences->Show beta tools. In the topic of Retopo - next big Step, we discussed the Future of the Retopo room. Thanks for the feedback. Let's make 3DCoat better together. For programmers, the challenge is not to spoil what works as you have been used to for many years. Сurve tool functionalities working in Sculpt Room at now. tokikake, in the next release, this will work in the Retopo room. Andrew said that we will make the best interaction between Sculpt Room and Retopo Room. We will add more primitives to the Retopo room. And the most important thing! There are 2 workflows in Retopo Room: - Retopo after Sculping - Modelling LowPoly. Perhaps you need to add another Modeling Room. To Modeling Room need to add some functionality from Retopo Room. ---------------------------------------------------------------------------- The Swept surface is created from a profile curve that moves in space along the guide. If the Auto-orientation option is enabled, the Profile is located at each Guide curve point so that the Profile plane is perpendicular to the tangent vector at this Guide curve point. If the Auto-orientation option is enabled, then you can change the angle and offset dX, dY of the profile. Dx=-500 Dx= -500 Creating a surface of revolution Polyhedron Swept Surface 2 Two guide curve and one profile curve Swept Surface 3 One guide curve and Two profile curve Example of using Swept Surface N Gener Sword Goose Later we will add more user manual and video tutorials. Perhaps still need to add this feature - Kinematic Surface
  3. I just wanted to create a thread here dedicated to hard surface sculpting/modeling in 3D-Coat. Feel free to post any tips, tricks, tutorials, or whatever you know about it so as to help the community out. I'll start by adding a nice timelapse video I found on Youtube. I saw some useful techniques used here that I thought were worth sharing. Enjoy! http://www.youtube.com/watch?v=3AVERcG9Qy8
  4. Hi, is there any tutorials available on character modeling similar to Shane Olsen’s (https://www.3dcharacterworkshop.com/) but for 3D coat. I’ve searched on YouTube and there aren’t any that I found that isn’t sped up. I’m looking for a tutorial that explains everything step by step.
  5. 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
  6. I think it would be best to unify the Paint and Retopo mesh structure in 3DCoat so the Tweak Workspace can be removed > Retopo workspace will be renamed TOPO or POLY EDIT Workspace and become the environment to work on all low poly meshes. No more Paint Mesh and Retopo Mesh...just Low Poly Mesh. That would allow the UV room to be the dedicated workspace for ALL UV work...no more UV room for just Paint Meshes and UV tools in Retopo Room for Retopo meshes. This creates too much confusion for new users, and if users need to modify or fix their Paint Mesh, it's a bit of complicated and convoluted process to do so, currently. They have to send a copy to the Retopo Room > fix/edit the mesh > replace the Paint room mesh and hope it doesn't cause a mess with your UV's and texture work. With a unification of Paint and Retopo Meshes, then the addition of more comprehensive modeling tools will make sense. Right now, new users expect to just Retopo in the workspace. Adding a whole new section of modeling tools will overcrowd the Retopo workspace, because half the toolbar is UV tools. Adding a new modeling room would just add more confusion and complexity. That is why 3DCoat needs to be simplified first. If we don't, 3DCoat will only become a big MAZE of disparate rooms and more convoluted workflows. SIMPLIFY. SIMPLIFY. SIMPLIFY. Please.
  7. 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.
  8. Hey folks, Just a quick question. I love using the stamp, click and drag with the alpha on the brush to create interesting forms when making concepts. My only issue is that I can never drag beyond the limits of the mesh. By that I mean, if I click a point to start my stamp and drag out it works fine as long as my cursor is over mesh. Once it leaves that area and essentially is over the background my stamp disappears. Anyone else have this issue?
  9. Hi guy's, I am new around here and i was recently shopping for my next sculpting app and i am very interested in 3d coat after a video i saw here : I come from Mudbox and i have experience in zbrush and no one on both forum were able to answer this except for Blender who had a working solution but not very good because it involved too many polygons to work with. What i want to achieve is positioning snake scales along tapering body of a snake so all scales have equal distance between them and scale uniformly without deforming in the tapered tail section, here a few images to better explain : Will be really appreciated if someone can find an elegant solution to this.
  10. 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?
  11. Artem Ba

    8 Classic Lamps, 4

    From the album: 8 Classic Lamps

    All the sculpting I did in 3D-Coat in voxel mode, and Render in Unreal Engine 4. I did not use any post processing.
  12. I made a game asset based on my class materials for concept design class. I've done the design 1 and half year ago, but made it as 3D model for fun. Original image link: https://www.danielkim3d.com/?lightbox=dataItem-iip0d7lc Sketchfab link: https://sketchfab.com/models/f6249162bd6540c5aaccfa4ff234dbc5
  13. Hi everyone! I'm new to 3DCoat, and in 3D art in general, and I'm looking for a good workflow. I've already worked several times in Blender, creating very low poly meshes, and I've sculpted high res meshes in ZBrush and I'm now starting with 3DCoat! I can do a blockout for a weapon or a base mesh for a character, and I've found no problems in importing the second in surface sculpt mode, subdiving/voxelizing it and sculpting the details. Ridiculously, I'm having more issues with the hard surface. The most common workflow in the world is creating a basic geometry in Maya/Blender and importing it in ZBrush/3DCoat, subdiving it, and sculpting details on the surface. I do like creating blockouts in Blender - mostly because I can control very, very good every face, vertex, and edge. Being a newbie to the software and having seen some videos around, my questions are: - Which workflow do you reccomend in general, or for a specific task like character/hardsurface and why? Do you use a blockout made in Blender/Maya/Etc or do you sculpt directly with voxels? - Does the voxel sculpt mode some particular cons? How good is the control over an hard shape/surfacem how does it feel? Would you compare it to an absolute, precise control like the one you have when you block out? - Does voxel sculpting give particular problems when it comes to retopology? Most people use a blockout to have a retopology mesh almost ready (never made a retopo before, so sorry for the ignorance about the topic)! Well, that's all for now (I've few other super-nooby questions to be honest, but they'll be for later)! All of this came because I've noticed that in voxel mode you can make crazy details with lightspeed and with great freedom, but also that if I import a blockout mesh and voxelize it, instead of starting with a voxel mesh, it'll create annoying voxely artifacts (apparently, 99% on inclined edges) that I can't make go away with Res+ and I don't know how to polish! I'm also wondering if it makes sense to NOT use voxel mode, considering the great advantages it offers even on a dynamesh... but to know that, I must wait for your response! Thanks to everyone in advantage for the help, I promise I'll annoy you more with silly questions on geometry and sculpting soon!
  14. Ethan Hiley discussed the way you should approach building guns for modern AAA games. If you're interested in modeling, texture, animation - you might find some interesting tips here. https://80.lv/articles/production-of-3d-weapons-for-video-games/
  15. I am trying to taper an a cylinder in 3D - Coat but I don't know how to do this. Like in the image: But rather than taper the object from the end I want to taper from the center so the center looks more skinny than the ends. Is there a way to do this in 3D - Coat? I am not importing geometry I am using the primitives in the voxel room. I've tried to scale it from the center using the transform tool but I can't seem to get the best results. Thanks!
  16. Hi all, I've watched a ton of tutorials and read the manual, but I'm still a bit confused about the best way to do this. I have a base model for my bearded dragon, but would like to lay down some of those little spikes that come off of the head, as in the attached photo. For that matter, I'm not really sure how to do the scales, either, but I figure I'll need to do a bit more investigating for that. Any starting direction someone could provide would be fantastic. Thanks! -Justin
  17. 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!
  18. From the album: "Elvis" War Boys Car/Mad Max

    Finished UVs, w/ UV checker render

    © Javis Jones 2016

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

    Finished unwrapped UVs

    © Javis Jones 2016

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

    Finished modeling portion of "Elvis"

    © Javis Jones 2016

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

    Finished modeling portion of "Elvis"

    © Javis Jones 2016

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

    WIP of the 50cal

    © Javis Jones 2016

  23. artofcharly


    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!
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