For your workpiece it might be sufficient and a lot quicker to simply re-import your finished mesh to Rhino and to assign box-mapping. In order to paint that finished deformed model you need to recreate UV’s and mesh modelers would at that point usually perform quad re-meshing, either by hand or automatically – but these steps require some skill as well, especially for thin walled parts. When the model is finished one may decrease the resolution for 3D-printing – the algorithm will retain a dense mesh where needed and uses larger triangles in flat areas. Here you can also increase mesh resolution when drawing small details. If you want deformation to appear in the mesh you will need the Sculpt room. In everything you are doing you are locked to the input resolution, the initially loaded model geometry actually remains unchanged. Deformation applied here appears inside Normal Maps and Displacement maps, Colour information is output to texture maps. One may understand the Paint workspace as the place where the render trickery takes place. Mesh models originally don’t have UV’s, one needs to unwrap them or assign a UV-Projector. Yes, all Nurbs geometry get basic UV’s assigned at creation time and this assignment is inherited when converting the model to most mesh formats. I’m guessing meshes exported from Rhino have UVs - or do they? In case you want to 3D print with textures that’s also possible – but this would require some more explanation. In case you only need the deformation you should import the model to the Sculpt workspace and switch to Surface mode. You said you want to immitate some stone built structures. It’s common though to start models in the Sculpt workspace and to detail them inside the Paint workspace, after remeshing. That’s the reason why 3DCoat doesn’t let you do this. Bringing models from the Paint Workspace to the Sculpt workspace to twist and bend them would quickly render UVs and existing textures worthless. That workspace has its own object tree > Vox Tree. The Sculpt workspace is intended for creating models from scratch and for introducing large form changes on raw models without UV’s. The whole paint workspace is there to colourize and surface-structure (=sculpt moderately) models which are mostly finished and which already have UV’s assigned. The Paint Objects Panel found in Windows/Popups controls their visibility. If you have various physically separate object inside your Rhino file and import into the 3DC Paint-Workspace they do remain separate. This Panel controls visibility of paint and surface structures and gives access to Blend modes – even across objects. On Layers: What 3DCoat inside its Paint-Workspace calls Layers is rather meant in the Photoshop sense. These all are actually purely 3DCoat specific issues – and better asked in their forums. Unless you have a very good reason to the contrary, use PerPixel painting as the resolution of the image is controlled by the texture map and is independent of your polygon density. Note that 3DCoat has two very different types of painting Per Pixel and PTEX. If you have various bits that will be different materials, then you can assign material names in Rhino before exporting and create multiple UV sets in 3Dcoat Then select just the mesh and export that. Go here for a bit of discussion on mesh settings: Make sure “jagged seams” is UNchecked so that seams are nice with coincident verts. tweak your mesh settings to get a density that is suitable for your shapes but don’t go crazy with density as that just slows things down. However a bit of pre-processing in Rhino will make your life a lot easier.įirstly you want to join everything that is one object into a polysurface. 3DCoat is excellent for painting models from Rhino.
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