It should look fine when on the model itself. That should only apply to human eyes, not to how the computer will read and display the texture. So the importer has to be a bit more specific in order to use that extra information. Polypaint is just a vertex-color property, and as far as I know vertex-colors are not a standard part of the OBJ file format. ZBrush will save an OBJ with it’s polypaint data as long as the tool actually has polypaint on when you export, but from there on out it’s up to the program you’re trying to open it with to do the rest. Simply put: Zbrush will export polypaint information easily enough, but not every program will import it. Thanks for responding Cyrid, I will read as much as I can about what xnormmal is as i can, maybe something will click.įor the first part Im not sure what you are talking about When I am able to make uv’s they produce the most bizarre files, taking what was scrambled in new from polypaint and pixolating the hell out of it into lots of dots or just stuff that looks like a jpeg error.ĭoing the uv thing takes a LONG LONG time (way over an hour) and I don’t even know what I’m making it for other then I have tried everything else and nothing works.Īnyhow I have spent three days and a lot more bandwidth then I can afford on this project and have gotten nowhere so far so I will have to stop till next month. Making UV’s with the Uv pallet makes this worse or in most cases just hangs or crashes ZBrush. New From Polypaint makes a wild scrambled mess… I got Xnormal but have no clue what to do with it. Clone the map to send it to the texture palette where you can then flip it vertically and export.įor the first part Im not sure what you are talking about, but on the second part you have nailed where the problem seems to be I guess (the uv bit). The alternative is to give the tool a set of UVs, and use Tool: Texture Map: New From Polypaint to convert the polypaint into a texture. Xnormal should be able to read the data, and possibly a few other programs (some programs you may have to set up the material to use the vertex color data for the diffuse, while others might not even both to read the vertex color when importing the OBJ so polypaint would be useless in those cases). You can replace clay sculpting with digital sculpting but sculpting in various poses is far more beneficial than not.If you export the OBJ while polypaint is on, it should export with it. It would benefit anyone to learn traditional clay sculpting as well but most people wont because it seems off the path. If you want to be a sculptor, learn to sculpt, study anatomy and figure drawing at least. So you may think you don't need to practice what all those old wise men did because they didn't have the cool tools you had. Beginners ALWAYS make the mistake of learning the technology but not the art and science required to make good art. In my experience, one should not fall into the trap of doing what is easy simply because it's digital. When digital sculpting became a thing, we all began to approach character creation like traditional sculptors, and those that were traditional sculptors already excelled because they could sculpt in pose, they could sculpt anything. We didn't have a Zbrush like program yet so sculptors were creating clay machettes in various poses for us as reference, and sometimes in a T-pose for digital scanning. Once Subdivs became a thing we sculpted polygon by polygon manually. I started 3dstudio in Dos, and softimage on SGI machines. You can always go back to A or T pose and then pose your character but all of the experienced sculptors I came up with sculpted in pose to study. Studying and practicing in pose is far more beneficial than just sculpting an A pose over and over, although that is important as well for obvious reasons.Īs for animation, learning to sculpt in poses helps you understand how to sculpt corrective shapes because you will understand how the body should look in different poses. It helps you understand form and how forms change in various poses. It's a good exercise that will make you a better sculptor. It's simply harder to do and if you want to do it, you better practice now IMO. Sculpting in a pose other than T or A pose is quite challenging, especially if all you ever have sculpted is T and A poses because you get symmetry for free and you don't have to worry about A symmetrical forms of a natural pose. That is until you decide you want to be a better sculptor and try sculpting in pose again, at which point you will have had zero practice doing so. So you could practice all your life sculpting in T or A pose, but that can be very limiting while you're learning because you're learning to sculpt only 1 thing, and you will likely only sculpt that 1 thing for the rest of your life. The person wanted to know how to sculpt a character in correct proportions while in pose. That's correct but it's not what the topic was about.
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