Sculpt Texture Blender
Dierdre Roussin
In the newest build of 2.8 as of today (June 8th 2019).I am trying to sculpt an object while also having a specific texture show on the same object. I cannot find any way to do that. As soon as I switch to sculpt mode I get some sort of matcap material and I cannot get a texture to show up in any renderer under any settings I tried. Is there I solution?
So, I just tried to make a few textures for sculpting. Until now, I was under the impression that these textures would work like the Displacement Modifier textures: dark areas lower the surface, light areas raise the surface. (And a mid-level can be set.)
You are not sculpting when you use mesh. Sculpts are old school its where you take the UV sphere you have in world and force it into a shape using blender etc. Don't worry about learning sculpts, not important.
Done. Now you can upload it to SL, if you have Made a UVmap to go with it using the image editor then the information will be saved with the .dae and you can apply the UVmap as a texture in-world. Just upload that once you have uploaded your mesh.
annd one final thing. Remember that SL does have a FREE upload on their beta grid for you to test your mesh before you bring it to the main grid. There are a lot of things you might have missed just viewing it through blender, so I would recommend doing that! I never miss that step in making mesh, its silly to just waste money fixing mistakes when you can for free.
As Frawmusl said, give up the idea of making sculpties. They were a temporary hack during the couple of years before Linden Lab made it possible to upload genuine mesh objects. Sculpties are essentially obsolete. You'll find plenty in SL that were made while that's all we had, but nobody's making them any more. That was already true two years ago when the OP started this ancient thread, and its much more true today. Second Life has moved on. Learn to make mesh.
Actually, I'm interested in this too. Just because sculpts are 'outdated' or 'obsolete' doesn't mean they don't have their uses. It has already been mentioned that they can be useful for accomplishing things with a lower impact in certain situations. The thing that I am interested in, however, is what is known as 'uuid flipping'. This is where you change the form of an object by turning it into a different one. Mesh objects no longer allow this, but with sculpts it is still possible. Systems like Prim Possible rely on this functionality to pull sculpt maps from an external database, allowing for easy updates and other dynamic options.
On every forum page asking about sculpts and sculpt map plugins I see everyone saying "use mesh", but there are times when mesh won't do. Mesh is good for small, high detail objects such as furniture but if you scale them up, the land impact rises too. I need to produce a sculpt map for a large false terrain plane. I've tried sculptypaint, it won't run on my PC at all. I installed Wings3d and the Sl wiki links to the SL plugin are dead. Now I'm looking for the sculpt map plugin for Blender, and everyone says "go mesh". I need a sculpt map, not mesh. It's really frustrating.
Perhaps not the easiest way but it works and it's not as if I have to do it every month and unlike anything that involve fiddling with anything inside Blender, the process is fairly easy to remember so I don't have to relearn it every time I need a Blender created sculpt.
From what I remember, Primstar 1.0 were some awesome Blender scripts. It made the whole sculpted prim thing alot easier. But it's been a while, and I hope I don't need to do another sculpt, and have to relearn all that stuff. :matte-motes-little-laugh:
Which section/course are you working through? The latter half of the Game Asset Section (currently Section 9) of the Complete Blender Creator Course covers quite a bit about working with UV Maps, Diffuse Maps, Height Maps, Normal Maps, and Texture painting.
I recently came across this great answer in Stack Exchange Blender. I tried to answer this for someone and another blender user with more experience than me answered with an even better solution. For multiple objects using the same texture but with different dimensions, he explained that in the Texture coordinate node, you can put an empty in the Object Picker box. This way, scaling, rotating and moving the empty will alter the tileable material equally, allowing us to get the best results. Very clever!
Hello, my name is AoBo Li. I have a passion for sculpting, films, and Art in general which usually give me a lot of inspiration. I'm going to breakdown the work I've done for one of my favorite film's characters.
I do like the workflow revolution brought by TexturingXYZ. In my previous works, I used a large number of alphas and textures materials to overlap, adjust, project, etc. which made the process quite complex and tedious, but also the final results I got were not real enough so far. For instance, it was difficult to precisely control the texture changes overall different facial areas, especially the border areas where the texture changes to another pattern.
Resulting in a blurred or relatively messy micro skin structure with overlapping or layer stacking. While this will look okay-ish when seeing in a relatively long distance this won't be great in a closeup shot. Quite a lot of flaws will be observed.
TexturingXYZ materials have brought great possibilities for high-resolution character and creature works. I believe there are still a lot of spaces for the Artists to explore.
In my workflow, I work the 3D model and the displacement mapping simultaneously, going back and forth from Zbrush to Mari, and so on until I got the desired result. I think both are complementary and should be considered as a whole thing. I worked on the primary forms, anatomy, and likeness in Zbrush.
Then I used Mari to project the TexturingXYZ map, after that, I come back to Zbrush where I turn on the displacement 'displaying' and continue to sculpt the details accordingly with the textures from Mari. Depending on the situation and the result I obtain, I could repeat these two tasks until I'm happy with the result. In this particular process, we should be patient, focused, and dedicated.
The goal in Mari is to have the TexturingXYZ map details laid down on the model as complete as possible. All the details will be visible in the render. Therefore, it is required to avoid stretching and blurring. The transitions of different textures should be carefully handled. Besides, the proportions of the textures should be well controlled because the result will be more realistic with more realistic proportions. You can use a micro map as the base for the Tiled layer and fill in the part that might be left out and empty.
First, we need to copy/paste the secondary, tertiary, and micro-detail maps into the red, green and blue channels respectively in Photoshop, and crop it into three maps, forehead, nose, and face. Then export everything for Mari.
I draw auxiliary lines also known as flow lines or strength lines before starting the project, which helped me to precisely determine features such as wrinkles, nose, eye bags etc. of the model. This is very useful and handy.
I did the first projection pass in the UV space. Using the Stamp tool, Paint through, Slerp, Pinup tools mainly The auxiliary lines play a big part in this process, following as much as possible the wrinkles and features of the face.
This time I choose the Mask and Inflate. The Mask and Inflate is a relatively complex thing, it does squeeze and inflate the pores at the same time, which is more vivid than the effect presented by only Applying the DispMap.
However, meanwhile, this method will also make the whole model expand, like a balloon. Therefore, the value should be carefully tweaked. In some cases where the details are overly small, we can use a layer or morph brush to adjust the effect.
My model has about 11 800 000 polys. Considering the performance cost in Zbrush, I haven't increased the polycount to add more skin details. Instead, I used some tileable textures directly in Blender.
This way, we can nearly completely restore the previewing result in Zbrush. In this process, the lower the model level for the baking process, the higher the intensity of the normal map is gonna be, and vice versa. It nearly took no time to wait for the baking of the normal map in Zbrush, which saved me quite a lot of time. Meanwhile, it also cost little time on the data importing and exporting.
To me, this relies mostly on the displacement, bump, normal information, the relief plays a BIG part in the skin shader. I increased the details for the skin by mixing some tileable textures from TexturingXYZ, which allows the skin to have some great details when observed from any point of view. The micro skin library from TexturingXYZ is complete, covering the full-body, offering a wide range of various patterns to choose from and experiment with. I can freely control various kinds of attributes such as their visibility (position) and their intensity driven by masks. Also, when they are applied in game projects, they are very practical and powerful.
This setup can also be used in a real-time render, to avoid memory consumption. When I have to switch to a real-time rendering, the things I have to do are only tweaking the lighting and a bit the shaders. Nothing else.
I added these tileable textures, which have been already set, on other components such as the color, the specular, and the roughness. Controlling everything at the same time enable the details to pop and bring a new dimension to the skin shader.
The base color map and tiled maps are mixed in skin shader. This time the character's skin was clean, so I didn't work that much on the Base color, just painted eye makeup and enhanced wrinkles in Photoshop, the rest was done in the shader.
During the whole process of lookdev, I constantly changed the lighting and environment, to make sure that everything can work in any lighting conditions. Here I used Blender's preset HDR lighting, it contains several typical lightings that I can switch with a single click, very convenient and easy.