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CADQuader 2026.12 — Cleaner meshes around cutouts and fillets This update improves Low Poly meshing at surface junctions: • Fixed excessive subdivision on small fillets split by a CAD surface junction. In the HC-2 example at Density 0.50, the affected quarter-round fillet now uses two steps, giving a simpler mesh around the window. Shared edges and original CAD vertices are preserved. • Improved trimmed surfaces of revolution and transitions near cutouts. The Sink-5 handle now has regular quad rows again, with surface boundaries preserved. Some triangles can remain in complex regions. • Included improvements to display meshes on closed loft surfaces and mesh preparation for trimmed surfaces. • Removed the experimental Var-3 option from the Low Poly dialog. The update is available through Help → Update and a new Windows x64 installer. Rebuild your Low Poly meshes after updating to apply the changes. Download and examples: https://cad2quads.xyz/?lang=en#quadro-202612 Special thanks to Britain for the continued collaboration, test models and feedback!

First of all, apologies in advance for the length of this reply. I know this is going to be rather long and probably a little tedious in places. for errors and typos was translated by an ai so his fault not mine   And thank you sincerely to anyone patient enough to read through the whole thing.  I'm writing this from the point of view of someone who is very new to 3DCoat. So please forgive me if some of the things I mention already exist and I simply haven't found them yet. But, in a way, that is exactly the point of everything I'm about to write. I've been watching tutorials, videos and documentation as much as possible, plus reading comemnts an forum post about 3d coat so i put here ideas that i find reasonable alog things i noticed. I studied as concept artists, so i already use other 2D and 3D applications, so I'm not completely new to digital art or 3D software. What I am new to is 3DCoat itself, and I'm currently at that very specific stage where I'm trying to understand the application, experimenting with everything, making mistakes, getting lost, finding things again, and slowly building a mental map of how it works. The reason I'm putting this much effort into learning it is simple: I would genuinely like 3DCoat to become one of my main 3D tools, possibly the main one for several parts of my workflow, and interface is the first thing one have to meet and manage. On paper, 3DCoat is one of the most impressive 3D applications available. Sculpting, voxels, modeling, retopology, UVs, painting, baking, rendering: it contains an enormous amount of functionality, including some tools that are genuinely unique. But for someone approaching it for the first time, it can also be overwhelming. You can get lost very easily, and the learning curve becomes more complicated than it probably needs to be. Part of that difficulty is unavoidable: a program with this many capabilities will never be as simple as a small single-purpose application. But another part of the difficulty, in my opinion, comes from something else: it is not always obvious where I am, what exactly I am working on, where I should look for a function, and where I should return when I get lost. After reading older discussions on this forum, I realized this is not exactly a new feeling. So I don't think 3DCoat should simply copy Blender, Maya, Cinema 4D, ZBrush, Fusion or any other application. Instead, I think a new interface should try to make the structure of 3DCoat itself much more visible and understandable.   The main point After starting to use 3DCoat, the feeling I increasingly have is not: “this function does not exist.” It is: “I'm almost certain 3DCoat can do this. I just need to discover where.” And I think that summarizes very well what a new interface should try to solve. 3DCoat does not need to become less powerful. It does not need to turn into a copy of another application either. It needs to make its power visible and give the user a comprehensible path to reach it. Experienced users should absolutely keep their hotkeys, popups, custom layouts and extremely fast access to tools. But a new user should be able to start from the same interface, explore it, gradually understand how it is structured, and naturally become just as efficient. I therefore don't think the answer is a “Beginner Mode” that hides half of the application. I would prefer an interface where the path from beginner to expert is continuous. First, it helps me recognize. Then, it helps me understand. Finally, it lets me become fast. 3DCoat already contains an incredible amount of functionality. A new UI should mainly make those tools feel available to the user, rather than hidden somewhere inside the application. I don't think the Rooms are the problem Personally,  reading around here i  would not remove the concept of Rooms. Quite the opposite. For a new user, knowing that Sculpt, Modeling, Retopology, UV and Paint are environments dedicated to different tasks can actually be very helpful. The problem is what happens when moving between them, and the fact that the structure of the project can seem to change together with the Room. I enter Sculpt and I see one set of things. I enter Modeling and I see another. I enter Paint and suddenly there are different objects, different layers and different panels. As a new user, it becomes very easy to start asking: Where did my object go? Is this still the same object? Is this a copy? Do I need to import it somewhere? Which panel controls it now? For this reason, I strongly agree with the suggestion already made in this discussion about unifying object management and simplifying transfers between different object types. A common Object Manager, or at least a shared primary hierarchy between Rooms, would be one of the biggest improvements in my opinion. This would not necessarily mean removing the Sculpt Tree, Poly/Retopo Tree, Curve Tree and so on at a functional level. It would mean giving the user one place where they can look and understand what the project actually contains. Conceptually, something like: Project Sword — Sculpt / Poly / Paint Handle — Sculpt / Poly References — Front / Side / Details The current Room could simply filter or highlight what is relevant. If I select something in the viewport, the corresponding element should immediately become obvious in the hierarchy. If I select something in the hierarchy, it should immediately become obvious in the viewport. Moving something from one stage to another through drag-and-drop, or through a clear Send to... command, would also be much easier to understand than having to know several different commands located in different menus. The Rooms would then feel like different workspaces of the same project, instead of occasionally feeling like separate applications. Give me somewhere to return to This is something I think many CAD applications do particularly well. They can be monstrously complex, but they usually maintain some permanent visual structure: an object tree, feature tree, timeline, breadcrumb system or history. I'm not suggesting turning 3DCoat into a parametric CAD application. Although, seeing that the 3DCoat developers are now also experimenting in CAD territory with CADQuader, I have to admit it would be fun if some CAD or parametric modeling ideas eventually found their way deeper into the 3DCoat ecosystem too. Giving Plasticity a little competition would be entertaining to watch... preferably without requiring us to sacrifice our entire lives to keyboard shortcuts. But I'm mainly talking about the principle. The user should always have somewhere to “turn around” and recover the path. At any moment, I should be able to answer three questions very quickly: Where am I? What am I working on? How did I get here? The Room already answers the first question reasonably well. A coherent hierarchy could answer the second. For some operations, even a small breadcrumb or contextual path could help answer the third. The complexity of the application can remain enormous. The effort required simply to navigate that complexity should not be equally enormous. Paint Room — take the Photoshop idea further 3DCoat has long had a certain familiarity with Photoshop. I think that is a very good idea, and I would take it further in the Layers panel. Not because the interface should visually copy Photoshop, but because Photoshop's layer grammar is already understood almost instinctively by a huge number of artists. A layer should first of all be an immediately readable row: visibility, thumbnail, name, optional mask, blending mode and opacity. Folders should immediately look like folders, and hierarchy and indentation should be extremely clear. Of course, 3DCoat has to deal with much more than Photoshop: Color, Depth, Roughness, Metalness and many other PBR channels. But that complexity does not necessarily need to be displayed all at once in the main layer row. I would personally prefer: Photoshop first, PBR second. First, let me understand immediately what my layers are. When I select or expand a layer, then show me its channels and all the PBR properties I need. Personally, I would not use Substance Painter as the main reference for this part. Substance is extremely powerful, but layers, masks, generators, filters and effects can quickly become trees inside other trees. And for someone coming from Photoshop and other 2D applications, even masking behavior and some shortcut conventions require learning a very application-specific grammar instead of building on conventions that are already familiar. 3DCoat could preserve all of its power without presenting all of that complexity at the same time. Modeling Room — the interface should understand what I am trying to do For the Modeling Room, I would look at a very simple philosophy that already existed in modelers such as Nendo and Wings, and that has reappeared in different forms in modern applications: What have you selected, and what are you probably trying to do with it? Nothing selected? Create, Primitive, Import. Vertex? Move, Weld, Connect, Collapse. Edge? Bevel, Crease, Loop, Split. Face? Extrude, Inset, Bridge. Object? Transform, Duplicate, Boolean. This does not mean hiding the rest of the tools. It means prioritizing what makes sense in the current context. Everything should still remain accessible through menus, search, or icons when icons are the fastest and clearest solution. That way, a beginner discovers the application progressively, while an experienced user still has immediate access to everything. Tooltips that teach without interrupting the work I strongly agree with people who have already asked for clearer tooltips in the current interface. I would go a little further. For important tools, I would use progressive tooltips. I hover over a command and immediately get something like Bevel — shortcut. I remain there for another moment and I get Creates a bevel on selected edges. When useful, a tiny animation could appear showing before → operation → result. Two seconds. Not a tutorial. Many CAD applications already use different forms of contextual visual help like this. For an application as large as 3DCoat, this would be an excellent way to let a new user learn simply by exploring the interface, instead of constantly interrupting the work to search manuals and videos. Sculpt Room — Tool, Alpha, Stroke and Material should look like different concepts As a new user, one of the things I find least immediate is understanding the relationship between all the elements that determine how a brush behaves. I would try to visually separate four concepts: TOOL — What am I doing to the surface? BRUSH TIP / ALPHA — What shape am I doing it with? STROKE — How is that shape being applied? MATERIAL / STENCIL — How am I modulating or projecting the result? These concepts should not feel like unrelated parts scattered across the interface. 3DCoat already contains many of the controls required to manage them. The problem, for me, is that they do not always feel like parts of the same conceptual object: the brush I am using right now. For this reason, I would separate brush control into two levels. A Quick Brush Menu directly next to the stylus While sculpting, I don't necessarily want to open a large properties panel every time. I would like to call up a small brush menu directly next to the cursor or stylus, similar in philosophy to some of the solutions used by Nomad and Blender. Not another permanent toolbar. A compact popup that only exists when I ask for it. At the center, I would like to see a real preview of the brush tip. Not simply the Alpha image, but a visual representation of the combined result of Alpha and Falloff. Around it, only the parameters that most strongly affect the immediate behavior of the brush: Radius, Strength, Tip/Alpha, Falloff shape, Spacing, Stroke and Pressure. For Falloff, I would like to be able to quickly choose visual shapes such as Soft, Round, Flat, Sharp, Pointed or Constant, or whatever terminology makes the most sense inside 3DCoat. The important part is that I should be able to see the shape, not only read its name. A pointed tip should look pointed. A flat tip should look flat. A soft transition should look soft. If I want more control, I click the preview or the curve and open the full editor. Controls such as spacing, accumulation/continuity and stroke behavior should also be immediately available when relevant. The menu could change slightly depending on the current Tool. If a particular property makes no sense for that Tool, there is no need to display it disabled among twenty other controls. It can simply not be there. The result should be a small panel that an artist eventually learns almost through visual and muscle memory: open menu, see brush, make it sharper, change spacing, change Alpha, close menu, continue sculpting. Brush Inspector / Brush Designer The Quick Brush Menu would be for rapidly modifying what I am currently using. For properly creating or editing a brush, I would instead want a complete Brush Inspector or Brush Designer. 3DCoat already contains many of the necessary functions: Alpha, falloff curves, spacing, jitter, pressure, rotation and many other properties. I would mainly try to collect them into one readable location. Conceptually: PREVIEW — a reasonably large preview of the individual stamp and, ideally, also a short preview of the resulting stroke. SHAPE — Alpha, Falloff, Tip shape. STROKE — Spacing, Accumulation, Smoothing, Stabilization, Rotation, Randomization. PRESSURE — Radius, Strength and other stylus responses where relevant. ADVANCED — everything needed by users building more specialized behavior. The preview should update in real time. This would also make creating custom brushes much clearer. Start with Clay, duplicate the brush, change Alpha, falloff, spacing and pressure, immediately see the result, save it with a name and preview. The custom brush becomes a comprehensible object, rather than the result of several settings that I have to remember from different parts of the interface. For me, this would be a perfect example of how to modernize 3DCoat without reducing its capabilities: Quick Brush Menu for speed. Brush Inspector for control. Alpha — make it obvious what I am actually using 3DCoat already has a very powerful Alpha system and already allows several forms of import. The point, for me, is not to add yet another system. It is to make the relationship between the brush I am currently using and its Alpha much more obvious. In both the Quick Brush Menu and Brush Inspector, I would like to see a large, clearly recognizable preview of the current Alpha. Click the preview → open the Alpha library. Drag an image directly onto the preview → replace the Alpha. Drag images into the library → add them to the library. The destination of my action should be obvious. I would also like, in the same context, a small Alpha editor for operations artists use constantly: Crop, Rotate, Flip, Invert, Levels/Contrast, Blur and Falloff, preferably non-destructively until I explicitly decide to save a modified version. For large collections, search, Favorites, Recent items and visual organization also become extremely important. But the basic principle for me is simple: if I am modifying the shape of my brush, everything related to that shape should visually live in the same place. Reference Images — they should be real objects in the project This is probably one of the areas I would emphasize most strongly. For a concept artist, or for anyone modeling from images, a reference is not an accessory. It is part of the work. 3DCoat already contains several ways of working with images and references. The problem, from the point of view of a new user, is that they do not necessarily feel like parts of one coherent system. I would instead turn a reference into a real project object. Drag an image into the viewport. 3DCoat clearly asks what I want it to become: Reference, Alpha, Stencil or Material. Choose Reference. The image enters the project and appears in the Reference Manager or main project hierarchy. I can immediately see its thumbnail, name, visibility, lock state, opacity and projection/display type. If I select it in the viewport, it is selected in the hierarchy. If I select it in the hierarchy, it becomes obvious in the viewport. Then I choose how it behaves: Orthographic View, 3D Plane, Screen/Pinned or Display Through Model, and manipulate it directly with a simple gizmo. Move. Rotate. Scale. Done. Reference Sets For modeling and concept work, it would also be extremely useful to create groups such as: Sword References Front / Side / Top / Handle / Ornaments / Material details I could hide the entire set, lock it, change its opacity or work with an individual image. I would also borrow an extremely simple and powerful concept from CAD applications: Calibrate Reference. Choose two points on the image, enter “this distance is 120 cm,” and 3DCoat scales the reference correctly. For anyone modeling from blueprints, design sheets or photographs, this would be extremely useful. And because 3DCoat is also an artistic tool, I would go one step beyond what many CAD applications offer: a small non-destructive annotation layer over the reference. I could draw construction lines, mark proportions, circle details or write a note without modifying the original image. References should feel like an integral part of the creative workspace, not like a camera option that I have to remember how to recover. Gizmos and transformations Another thing I would make absolutely consistent is the language of transformation. Translate, Rotate, Scale, Pivot, Local/World orientation and Snapping should behave and look the same across all Rooms. An arrow should always mean Translate. An arc should always mean Rotate. A scale handle should always mean Scale. The current mode should be immediately obvious. During a rotation, I would like to see the numerical value clearly. Snapping should be available close to the operation I am performing. Pivot and coordinate system controls should not feel conceptually different simply because I entered another Room. The same principle applies to deformers. Pose, Bend, Twist, Taper, Lattice and similar operations should appear as a clearly recognizable family. Choose Bend? Show me the axis, pivot and bend arc. Choose Twist? Show me the axis immediately. Choose Lattice? Show me the cage. A well-designed manipulator often explains a 3D operation far better than ten numerical parameters. Panels should stay where I put them I also strongly agree with the comments already made about panels that automatically hide themselves. Personally, I would always prefer explicit behavior: Pin, Collapse, Close. If I collapse a panel, it stays collapsed. If I open it, it stays open. If I pin it, it remains where I put it. Photoshop and many other applications solved this kind of problem a long time ago. An interface that constantly tries to guess which panels I want to see can become less predictable than an interface where I simply decide for myself. Nomad Sculpt — don't copy it, but look very carefully at why its UI is so readable This is a very personal opinion. Of all the 3D applications I have used or observed, Nomad Sculpt probably has the interface I consider most successful purely in terms of visual clarity and immediacy. That does not mean 3DCoat should look like Nomad. They are very different applications in both complexity and purpose. But I think Nomad demonstrates several principles exceptionally well: controls large enough to comfortably use with a stylus, very clear visual hierarchy, good spacing and contrast, sliders I can actually grab without surgical precision, secondary menus that appear when needed instead of permanently occupying the screen, active state that is immediately visible, and very little tiny text. And above all: when I look at the screen, I immediately understand where I am supposed to put the stylus. I think this is extremely important for software aimed largely at artists using drawing tablets. I also find the way Nomad handles brush behavior particularly interesting. Alpha, Falloff, Stroke and Pressure remain distinct concepts, but they are clearly connected to the current tool, and the falloff shape is presented in a very visual way. I would not, however, replace all text with icons. For an experienced user, a familiar icon is extremely fast. For a new user, an unfamiliar icon is simply a hieroglyph. So for major functions I would prefer icon + label, and for secondary functions icon + excellent tooltip. Shortcuts should accelerate the interface, not be required to understand it This is another point where I admit I have a personal bias: I am not particularly fond of memorizing dozens of keyboard shortcuts. I understand perfectly why experienced users love them, and I absolutely think they should remain available. But I do not think a shortcut should be the only practical way to access an important function. The interface should remain understandable and usable without requiring the user to memorize a keyboard map first. And when shortcuts are used, I would try to standardize them as much as reasonably possible. Common operations should follow common conventions. The same operation should use the same shortcut across different Rooms whenever possible. If a convention is already widely used across 2D, 3D or CAD applications, breaking it should have a very good reason. A user moving between applications already has enough things to learn. They should not also have to relearn basic navigation and transformation conventions every time. Shortcuts should be the fast path once I know what I am doing. They should not be the map I need in order to discover that a function exists. “Modern” should not simply mean “flat” Finally, modernizing the UI should not simply mean making everything flatter, more monochrome or more minimal. To me, a modern interface is mainly about hierarchy. I should immediately be able to distinguish which Room I am using, which object is selected, which Tool is active, which Alpha I am using, which Brush I am using and how it behaves, which options belong to that Tool, and which modes are modifying its behavior. Spacing, typography, contrast, target size and visible active states probably matter more than a new collection of icons. There could even be different UI density presets such as Compact, Standard and Pen/Touch, while keeping the same overall structure.  

source... Is it really "the wisest way to start"? GAOMON positions its PD1561 V2 pen display as an affordable option suitable for beginners. I am, unfortunately, no great artist, but that makes me exactly the right person for the device, and in this review, I'll share my experience with the display so you can decide whether you'd like to get it. Key stats: Panel Size: 15.6 inch Active Area: 344.16 × 193.59mm Resolution: 1920 x 1080 (FHD) Full Lamination: Yes Color Accuracy: ΔE<1.5 Surface Finish: Pre-installed Anti-glare protective film Gamut Volume: 99% sRGB, 99% Rec.709, 88% NTSC Display Color: 16.7M (8-bit) The PD1561 V2 is "the wisest way to start," according to GAOMON, but if you're really just beginning your art journey, these numbers might mean little to you, so I'll try to show you what's important hands-on. The package comes with the display itself, a G Pen stylus, an SH01 pen holder (with 8 replacement nibs and 1 nib extractor), an ST100 stand, an HDMI to Mini HDMI cable, a USB-A + USB-A to Type-C cable, a drawing glove, a protective case, 4 screws, an Allen key, a quick start guide, a driver download card, and a warranty card.  Display The PD1561 V2 is pretty compact for a pen display, so you can take it with you relatively easily. However, it's not a tablet, you'll still need a computer to use it, so this is hardly the main attraction. The display is connected with 2 (well, 3) cables, which is not the most convenient solution, especially nowadays, when PCs are already stuffed with cords from all kinds of devices. A double-ended Type-C connection is possible, but the cable isn't included. Moreover, the mini-HDMI port is "drowned" in the case, making it harder to replace cords – you'll have to purchase them from GAOMON or do something creative with what's on the market. For some reason, the company didn't put bumpers on the screen itself, so when it's horizontal on the stand, the lower edges wobble if you press too hard.  The developer promises anti-glare protection that minimizes reflections and eye strain. While the latter is individual, I can't say the reflections are minimal. You'll have to make sure the light is not directed at the screen; otherwise, the creation process will turn into a fight with your lamp. You can adjust the angle with the stand, but it can be a hassle if you're used to a specific position. 1 of 2 Apologies for the orange hue – night mode is on. The anti-glare effect is achieved via a slightly matte film. It is soft, and even though the display is said to be scratch-resistant, the pen can leave marks on the material. I can't say I was extremely active or harsh with it, but I noticed a couple of tiny, barely there lines. You won't see them if you don't look for them with a flashlight in hand, but I used the device for about a month, so there could be more after a while. Well, you can't have it all in an affordable display. The screen is responsive, and strokes can be very subtle when you barely touch it. V2 offers 16,384 levels of pressure sensitivity for delicate line work, but I don't think beginner artists will see the difference compared to the previous version's 8,192 levels. It's sensitive enough for any kind of entry-level work. GAOMON promises a high report rate of over 300 PPS, and to my eye, the lag is infinitesimal; the output follows the input seamlessly, and it makes painting, sculpting, and working with animation easy and natural. I have to say I found the colors a little dim with the default parameters. But you can change brightness, contrast, sharpness, RGB, color temperature, and other settings in the OSD. From my experience, Native color mode provides the most vibrant picture. Pen The G Pen stylus feels nice and sturdy; it sits right in my hand, and I was sure the line would go where I wanted: the "zero-wobble" nib with "0.3mm retraction distance" barely moves in the casing. The nib is sensitive at any angle, so you don't have to hold it at a 90-degree angle, which makes digital work feel more like traditional craft. The 10mm sensing height at which the screen "sees" the pen is enough to work without interruptions, but it would be nice to be able to adjust the distance in the software. You don't need to charge the pen, so it won't die on you in the middle of work, although it means you can't use it with other devices, like your phone. Thanks to the tech, the pen is light and won't make your hand tired any more than a traditional pen. As usual, there are 2 buttons that you can program in GAOMON's software, along with the buttons on the display itself. Software The program is pretty simple and allows you to program the buttons to keys or functions, choose active area, and adjust the pen's pressure sensitivity. I'd say the best use of the buttons is changing between your monitor and the display, undo/redo, and zoom, everything else is optional. Thankfully, the default calibration already provides some of the most useful actions, so beginner artists don't need to think too hard about settings. So many buttons could potentially replace a keyboard in 3D software like Blender, but I'm not sure it would be too comfortable. Still, it's nice that there's a possibility. Price & Compatibility The PD1561 V2 is available for Windows 7 or later, macOS 10.12 or later, Linux, and Android (USB3.0 DP1.2 or later). However, the manufacturer warns that a separately purchased docking station is required for proper Android functionality. The display comes with a 1-year warranty and sells for $319 or €299 on Amazon or GAOMON's website. Conclusion The PD1561 V2 is an easy-to-use pen display that can compete with other options in the same price segment. Naturally, some things had to be sacrificed in order to make it affordable, but overall, I think it's a good option for beginners and those who want to upgrade from traditional graphics tablets, suitable for 2D, 3D, and animation.

Playing around with curves. This step file will not quad. Many files built with curves fail to quad. Hood.step

Still not get the good detail your having.   HC1.step

Sent, please new File Step.

New Natron fork https://discuss.pixls.us/t/natron-fork-3d-system-cycles-renderer-deep-particles-and-more-windows-build/60644

From the CAD app, can you set hard edges before export the model ?

Program is struggling with the square insert with round holes. No contour around the round holes. The pinch clamp has an issue in some of the corners. Over all Cad Quader is keeping the sharp edges. Running the Pinch clamp through the paid Quad remesher Im loosing some corners and some faces, Quads are better but the program is for polygon modeling. Cad Quader now is doing a better job keeping sharp details sharp needs some work on the quad flow. 

Solved, hidden edges was on. 

- The issue with transparency still remains. What kind of issue with transparency?

Var-3 is my mistake. The experiment was included by mistake.

Thanks for the kind words. Im not getting to expected results. I tried Var-3 but got this result. Still having an opacity issue. Model updated. Its a PVC tube pinch clamp from back in the day when I was doing tool design. This part I figured would be good example to test quads on though the part material was only in plain white, green red and blue color. SolidWorks back a while ago really didnt have a good material program. So presentation for CAPEX approval a realistic colored part helped. So I exported a lot into 3dcoat or blender for materials. So a lot of manual topo. Perhaps Im doing something incorrectly in CadQuader. EDIT: Turn off hidden edges cleared up opacity issue HC1.step

CADQuader 2026.11 — Mesh Improvements This update improves Low Poly meshing: • Cleaner narrow planar end caps with holes in Var-2: fewer diagonal rows and simpler strips across the cap, with boundary vertices and openings preserved. On the HC example, one end cap at Density 0.20 now uses 120 polygons instead of 178. Some triangles can remain at complex transitions. • Fixed excessive mesh density on models made of many small curved surfaces. On Vechicle_M with 128 surfaces, Density 0.05 now produces 1136 quads instead of 3072 — about 63% fewer. This is a model-specific result; the calculation at Density 0.10 and above is unchanged. • Fixed opening and saving projects with UV seams: separate texture coordinates and normals in polygon meshes are preserved. The update is available through Help → Update and a new Windows x64 installer. Rebuild your Low Poly meshes after updating to apply the changes. Download and examples: https://cad2quads.xyz/?lang=en#quadro-202611 Special thanks to Britain for the fruitful collaboration! Thanks for sharing your models and feedback!

Models are having some transparency to them. No longer completely solid. HC.step

Autopo in 3dcoat was made by Anrew. I can't answer for him. And this thread is not related to Autopo.

Convert Any Mesh to a Sculptable Surface in 3DCoat | Smart Hybrid & On-Plane#3DCoat #3DSculptingView the full article

will any of this improve autopo in 3dcoat?

3DCoat on Linux uses the old GTK2 file dialog: no thumbnails, no bookmarks from your file manager, and it looks out of place on a modern desktop. GTK2 can't use the system file chooser (xdg-desktop-portal), so there's no setting to change it. I wrote a small open-source library that fixes this. You load it with LD_PRELOAD, and 3DCoat's Open/Save dialogs then come from your desktop's own file chooser: GNOME's, KDE's, or a file manager that provides one (I use Strata). - Open, Save, Save As and Export dialogs - Starts in the right folder, and Save As fills in the current scene name (scene.obj for an OBJ export) - 3DCoat's file type filters are carried over - If something goes wrong, the normal GTK2 dialog opens instead Setup (Flatpak version): git clone https://github.com/SreckoM/gtk2-portal-chooser.git ~/src/gtk2-portal-chooser cd ~/src/gtk2-portal-chooser && make flatpak override --user --env=LD_PRELOAD=$HOME/src/gtk2-portal-chooser/gtk2_portal_chooser.so com.pilgway.coat Building needs a C compiler and the GLib development package (libglib2.0-dev on Ubuntu). For the non-Flatpak build, the README shows how to add it to your launcher script. I've tested it with 3DCoat 2026.25 (Flatpak) on Ubuntu and Omarchy with Hyprland. If you use a tiling window manager, the README has a window rule so the dialog opens on top of 3DCoat. Repo, details and troubleshooting: https://github.com/SreckoM/gtk2-portal-chooser Feedback from other distros and desktops is welcome. Please open an issue on GitHub or reply here.