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  1. When I import a black and white png image that I want to use to sculpt with, it creates the following maps: all, color, alpha, depth, specl, erase. But I've noticed that only all and color have the actual stamp in it, the others, including alpha are just blank boxes, so when I try to use them with the airbrush, it doesn't do anything. How do I get the program to automatically create an alpha channel as well? I've watched a lot of tutorials that talk about dragging a jpg into the brush panel so I assume it can be done.
  2. Thanks for the great new leaves feature on the Tree tool! Would love it if we could lock the seed of the tree shape. Sometimes I just want to change the branch length or thickness, and when using the new leaves option (which is amazing BTW) I just want to change the leaf scale or density, but every time I make any changes, it generates a new tree seed, and I lose the tree design I had and really liked. I think this would make the tree tool so much more usable for artists. Keep up the amazing work! -Alex
  3. Does anyone know a way to paint in without crossing over to another Vox layer or sculpt layer? Im not sure where I can find this solution and would appreciate it if anyone can mention a way to lock my painting affects onto a single layer rather than crossing over and continuing on to another adjacent layer. The only thing that seems to work similar to the result i want is by using the fill tool but i wish i had more control with a brush.
  4. Im very new to using 3Dcoat and im not entirely sure what or how to use things or even when to use tools. I want to create full body characters, mainly focus on anatomy and muscle like with superheros. Im not sure what tool i could use for a zsphere like armature. I prefer to have that base form first rather when sculpt from a sphere. I’d also prefer to create the armature myself rather then use a preset body. Im also not sure what brushes are best for building up and blocking out a body. And i need help as well with what brushes and tools work best for medium to high detail too. I see alot of brushes but im not sure whats best for what. I was also hoping to rely on voxel sculpting without the worry of the technical aspect as much as possible as well.
  5. Currently when you turn on sculpt mesh in the modeling room it will create a sculpt mesh for every poly group. Instead it should only create a sculpt mesh for the current active layer or even just visible layers. Because if you have a layer hidden it will create an empty sculpt layer and that just clutters the sculpt tree.
  6. I have this problem since the last version of 3D Coat, When I tried using the curves, most os the time they fail to stroke all the way around. Like the example below: I'm missing some settings? Or doing something wrong? Most od the time I just need to create loops (both painted or sculpted) this is the best way to do it? Cheers! Thank you!
  7. Hey everyone! Newbie sculptor and 3DCoat user here. After closing and opening my program the sphere tool always creates a flat-ish circle now. No matter what brush or lasso i use it all comes out distorted. Any help on what i may of accidently changed?
  8. See images for the sculpt and the bake. Only problem is the normal map, it is SUPER noisy, like the value for each pixel is highly contrasted. Crazy thing is I've done this like 200 time sand haven't encountered this issue before. in fact I did it with an older version of this mesh. Any help would be greatly appreciated.
  9. I'm new to 3D Coat, and it has the potential to be very useful to me, but right now, I'm struggling with a weird problem that is very much getting in my way. Specifically, when I attempt to use the Live Clay brush on a Curve Stroke, or a Curve produced by the Curves system, and my brush radius is below about 4, I start getting intermittent, messy gaps. The smaller I go, the more gaps I get. Adjusting the Spacing under Brush Options Panel seems to have no effect on this problem, whatsoever, so that's not the issue. This is a wireframe view of the kind of result I'm getting at a brush Radius of 1: As you can see, where it's laying down a stroke, it looks fine, but those random gaps make it completely unsuitable for etching nice, smooth shapes. For this image, I was using the first Default brush, with these settings: This problem seems to occur at a wide range of Live Clay detail levels (I've tried 0.25 all the way up to 10), so that's not the issue. I've tried this with a wide variety of alphas, and that doesn't seem to make any difference, either. At some low detail levels, it even seems to tear holes in my mesh: I have, so far, seen this problem in both 4.9.55 and 4.9.65, both DX and GL. Is anyone familiar with this issue? Does anyone have any ideas?
  10. There are multiple instances of this happening to me. Particularly in the retopo room placing seams on the mesh. Please fix this as I don't have an autosave that has the progress
  11. the default maximum depth is 30, and it should decrease if I change the number. However, using the cutout tool, the depth depends on my camera angle and pays no attention to the maximum depth
  12. I want to make the orange screens in the reference, but I can't figure out how to make the extrude brush paint at a straight line. Any way I can do that?
  13. I'm trying to sculpt the highlighted mesh as seen in the pictures above. I used the blob tool with radial symmetry, but the result gives a mesh that is offsetted on the X axis which can't be fixed no matter what I try. Is there a better way to do it?
  14. It used to work fine in .49, but after updating to .53, it do esn't work anymore video0.mov
  15. Hello, guys!! After a while using Zbrush and other stuff in my workflow, I've decided to go back to 3D Coat. It was amazing at first. I was preparing models to be printed. Smooth. And next on the line was to sculpt a simple piece for 3D print. "piece of cake" I thought, but then the nightmare begin. After a while the symmetry stop working properly. Why properly? Because what I do on one size turns in something insane on the other side. The sculpture turns in a bizarre mass of crazy strokes, overlapping polygons and other crazy stuff. I need to deliver this sculpt today. Looks like 3D Coat abandoned me :(
  16. I sometimes (often) get asked “why don’t you use zbrush” and honestly I don’t care too, 3dc has an amazing set of tools for my specific workflow when working with 3D scans. Anyway, here’s my Oreo colorway Nike flight cleaned up painted Sculpted retopo’d and UV’d in 3DC. CAA16F70-3F3C-490A-94DB-4FFF10461895.tiff 26FCE1CD-B153-4252-A244-97B5E82208C4.tiff
  17. Hi guys. Can anyone explain me about future alpha and brush systems. What are the advantages of rewriting them?
  18. I think, that all program user need this brush couse of ZBrush has something like that.
  19. Hey Everyone! I was trying to find workflow information related to games and movies. So I found a video from a YouTube channel called Flipped ... I started watching and I heard the following comment: "... so the tools you're probably gonna have to learn here are first Zbrush. If you are character artist Zbrush is to go to tool. We have people asking cannot sculpt in Modo, Blender, 3D-Coat? Technically yes, practically NO! Zbrush is by far the most advanced sculpting tool here! " "Also because it's just become it is the industry standard..." As soon as I heard this, I still tried watching the video, but I stopped and I could not watch it anymore. It's not because I use 3D-Coat, but I've had a lot of feelings about what I've heard and I'd like to share with everyone. I can speak and give my opinion very credibly. That's because I've used ZBrush for many years and I've been using 3D-Coat for a long time. So I know exactly what I'm talking about. First, I was sad to hear that they say that 3D-Coat would be the last choice of tools when it comes to sculpture. And I know that other people also say that because I've already listened. Secound I was disappointed because ZBrush is not that far from 3D-Coat in relation to the sculpting tools and Brush system. Thirdly, I was upset , because if you do not know how to use a program properly, it does not mean that the other program is so superior. And probably, these people do not even want to give themselves the chande of sculpting on 3D-Coat. They are right in one thing, Zbrush has become the standard for the Industry. In 3D-Coat, I can make sculptures as good or better than when I used ZBrush. I do not see that gigantic difference between ZBrush and 3D-Coat. If a person thinks that just because he or she will use the ZBrush that will become a Rodin or Michelangelo digital is very much mistaken! Because the program will not sculpt for you! Zbrush began to develop first and has a great team. Of course in 3D-Coat the system of brushes and alphas can be improved. In the latest versions of 3D-Coat, @Andrew Shpagin has been improving the Sculpt Room, giving us tools that neither ZBrush has. In the near future of 3D-Coat, I'm sure @Andrew Shpagin will give us an excellent new system of brushes and alphas with features that will allow us an even more refined control of Brushes and Alphas. Because I use 3D-Coat every day to sculpt, I try to show and demonstrate to @Andrew Shpagin and the whole community the features that are important and that would make a big difference to our work. Maybe @Andrew Shpagin will listen to me, maybe not. I hope so! I know that sometimes I may be annoying for suggesting features and improvements, but I always have the mindset of wanting to see 3D-Coat be better than it already is! To complete my thinking, 3D-Coat's sculpture system is very good and the detailing system inside 3D-Coat is starting to have a brightness. The artist who wants to sculpt in 3D-Coat will have the same success as ZBrush. Just learn the tool and be happy. I know there's a lot going on, but I could not shut up this time! That is my honest opinion!
  20. This is from a sculpt and bake in 3dcoat. Notice to shading making to triangle obvious. Has anyone encountered this? Any help would be greatly appreciated.
  21. From the album: Artworks

    Sculpted in 3D Coat, rendered in Blenders realtime renderer Eevee.

    © Christoph Werner

  22. I had 4.8.25 and sculpt layers did not work for me. I downloaded 4.8.32 and sculpt layers still don't work. I made sure that I was using a surface model. Created two layers above layer 0. I named one Test A and the other Test B. I then selected layer A and drew a line. I did the same thing to layer B. When I cut the opacity down to 0 on either layer nothing changed on the model. I then cut each of the layers off and nothing happened. I made a new file started with a surface model and did the same thing. Still it didn't work. Is it broken or am I doing something wrong. layer_test_001.3b
  23. Hey everyone! My intention in creating this topic is to be able to contribute to the improvement of the Brushes, Alphas, Stencils and Textures system for 3D-Coat. Since @Andrew Shpagin commented that he was developing a new system of Brushes, then who knows, this topic could help in some way and at the same time you can comment, enrich and further strengthen this subject that is of the extrem importance for all of us who are users of 3D-Coat. I have sculpted a lot in 3D-Coat which is a fantastic program, especially in Surface mode and I can tell you all in all sincerity that I really missed a lot of important tools and functions during my work and I believe most of you too. Please do not misunderstand me, but on several occasions, I was a bit discouraged by the lack of tools and functions in 3D-Coat and thus making me take my work to other programs to be able to move on with my work. I know it's healthy to have a workflow that involves other programs, but honestly taking your work to ZBrush to be able to perform certain functions is very frustrating. In my head it does not make sense to have to get a ZBrush license just to complete my work that I do with a lot of affection inside 3D-Coat. So with this feeling, I would like to suggest and share some suggestions that could make a big difference in our work related to this area. Actually, it would be a lot of suggestions, but I'm going to get caught up in what seems to me to be the essential and really make a difference in our work. --------------------- So, shall we start? ----- 1) Alpha and Textures for 16 Bits: --> VERY IMPORTANT! I believe one of the major important steps for 3D-Coat would be the program to accept to work with alphas, stencils and textures with 16 bits. This will help greatly in the process of sculpting and painting taking the program to a level of excellence and would prevent the surface of the mesh from becoming strange through alphas and textures of 8 bits. Please see a quick comparison of the same Cube created in ZBrush with 500 thousand polygons and then this cube was imported to 3D-Coat for the application of the same alphas that were used in ZBrush. In this test, you can see that in all examples in 3D-Coat (located to the right), the surface of the mesh showed more noises, pixallated effect and generated some imperfections in the geometry of the mesh (bad geometry). The reason for this is because 3D-Coat only works with alphas and 8 bit textures that limits the program in the definition and quality when applied to the surface of the mesh, since 8-bit grayscale images which contain 256 gray levels. In ZBrush examples (located on the left) you can see that the surface of the mesh has a better quality, it has an excellent smoothing definition (not having the pixelated effect) and does not generate a geometry with problems on its surface, since 16- bit images which contain over 65,000 gray levels. In my opinion, 3D-Coat switching from 8-bit to 16-bit would give users an incredible and spectacular detailing power (whether in the area of sculpture or in the painting area) similar or even better than what we find in ZBrush. ----- 2) New Alpha Pallete: (These functions, if implemented, could be part of the Paint Room as well. ) I think 3D-Coat could improve a lot in the area of alphas. This suggestion for a new Alpha-related palette would bring the user important and useful functions as well as an instant preview for the user to observe the changes that would be made to the alpha being manipulated. -- Features and Functions: . Flip H: It would flips the alpha left-to-right, making it a mirror-image of itself. . Flip V: It would flips the alpha top-to-bottom, making it a mirror-image of itself. . Tiles H: The H Tiles would tile the selected alpha along the horizontal access. The H Tiles could have a different value then the V Tiles to would create unique tileable alphas. . Tiles V: The V Tiles would tile the selected alpha along the vertical access. The V Tiles could have a different value then the H Tiles to would create unique tileable alphas. . Offset H: The Offset H would offset the image horizontally. . Offset V: The Offset V would offset the image vertically. . Distort Image: The distort image would be the same found in the Preview Options of Stencils and Smart Material. This would works similar to liquify brush of photoshop. . MidValue: (Very IMPORTANT feature) - Mid Value would set the zero displacement value. If would set to 1, then white would be considered zero displacement and all sculpting would push in on the model. If would set to 0, then black would be considered zero displacement and all sculpting would push out of the model. Setting Mid Value between 0 and 1 could allows you to sculpting in and out at the same time. . Surface: (Very IMPORTANT feature) - The Surface button mode would automatically defines the best middle gray value for your alpha. It would allows you to add details from the alpha to your sculpt without destroying details already on the surface. . Filters: Curves, Levels, Dodge, Burn, Threshold, Invert, Gaussian Blur, Motion Blur, Unsharp Mask, Noise e etc... The idea of the filters would be to completely refine the Alpha. You could choose how many filters were needed and these filters would appear in the order you choose in the list on the side. The user through the Eye button icon could or could not see the Filter, thus the filter would become active or not. The user could delete, duplicate and change the order of the filters in the list. Just as you could save and load the list with the filters and their respective properties that were previously configured. The user could create a new alpha from the list that would appear in the Alphas palette. And best of all is that this filter would be non-destructive, all properties and values would be permanent and would be changed at the time users wanted. ----- 3) Alpha Capture from sculpt: Capture Depth information in 16 Bits to create Alphas with ease. To make life easier for the user and further improve the creation of alphas within 3D-Coat, this new tool through a function similar to that of programs that capture the computer screen by dragging a rectangle, would be able to capture the information of the Depth of the geometry surface and could efficiently generate a 16 Bit Alpha of that surface of the sculpted mesh. This generated Alpha would automatically appear in the alphas palette. ---> Important New features for better Brushes control: ----- 4) Imbed and Gravity: - Imbed: (very IMPORTANT feature) The Brush Imbed would control the embed of selected brush. Brush Imbed would gives a brush a definite control on how a brush would interact with a surface. This would allow a slight deformation on the surface or a more extreme deformation on the surface. - Gravity: It would allows you to add gravity to your brush strokes, giving it a draping effect. Through an Orientation function, gravity could be oriented to the Z axis and thus change the direction of gravity. ----- 5) Topological area of influence function for the Move Tool and Pose Tool: (Very Important feature) When the user activates this option, the surface of the mesh would have a restricted degree of influence to perform the deformation of the mesh surface. Example: Close or open the eyelids (when moving the upper eyelid, the lower eyelid would not be moved) or the mouth (when moving the lower lip, the upper lip would not be moved) according to the area of influence of the brush configured through properties that would aid in the refinement of this function. Since 3D-Coat is not attached to a topology, I had thought the following solution to this problem would be the possibility of 3D-Coat using the Calculation of Curvature used in the Smart material system to be able to identify the surface of the model and thus 3D-Coat could have concrete information on how the program could restrict an area, even if that area is in contact with another area. ----- 6) Changes made to Proxy Slider could have compatibility in Sculpt Layers: At the moment, when the user works with models at any resolution in the Proxy Slider and returns to the normal model, all layers in the Sculpt Layers are lost. ----- 7) Clip Mask Layers on Sculpt Layers. (Very Important feature) This would be really important for detail control on the surface of the mesh in a non-destructive way. ----- 8. The Snake, Spike, ToothPaste and Muscles objects could have better compatibility in Surface Mode (so there are no problems stopping the program or at times not accepting the operation) and a very important thing, they could be compatible with Sculpt Layers. I've already emailed @Andrew Shpagin about all of these suggestions. There are many other functions and tools I could list here, but in my opinion, these suggestions explained above, would already give all artists who use 3D-Coat a huge improvement in the work. What do you think? Please help make it happen! Thank you
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