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3DCoat is the one application that has all the tools you need to take your 3D idea from a block of digital clay all the way to a production ready, fully textured organic or hard surface model. Today 3DCoat is available to learn at 300+ Universities, colleges and schools worldwide.

See the latest features of 3DCoat 4.9.65

3DCoat is one of the most advanced software applications for creating detailed 3D models. Where other applications in this market segment tend to specialize in one specific task, such as Digital Sculpting or Texture Painting, 3DCoat provides High-End capability across multiple tasks in an asset creation pipeline. These include Sculpting, Retopology, UV Editing , PBR Texture Painting and Rendering. So it can be called a 3D texturing software and 3D texture painting software and 3D sculpting program and Retopology software and UV mapping software and 3D rendering software all combined.

In short, 3DCoat removes the need to purchase (and learn) multiple specialty software titles, which happen to be comparatively expensive, by putting all the production-level tools in a single, affordable application.

3DCoat has a free 30 days trial which can be downloaded for the following platforms
-Windows
-Mac OS
-Linux

3DCoat User Interface

Workspaces

Like many 3D applications, 3DCoat separates major tasks and toolsets into their own unique work environment, or Workspaces (often referred to as “Rooms”) with Workspace tabs located above the viewport. The main Rooms are Paint Room for 3D texturing, 3D texture painting and PBR texture painting; Retopo Room for Retopology and Auto-retopology ; UV Room for UV mapping and UV unwrapping; Sculpt Room for 3D sculpting or Digital Sculpting as well as Voxel Sculpting and Render Room for 3D rendering. Free download crack for typingmaster pro 7.

The Paint, Sculpt and Retopo Workspaces have their own native Mesh objects, however, Sculpt (Workspace) objects do share the Paint tools in the Paint Workspace, using a Texturing paradigm known as Vertex Paint. Color, Glossiness, Depth and Metalness information is stored in each vertex rather than on a UV map. This allows the artist to paint PBR textures now (sculpt phase of a project) or later (after baking to a low-poly, UV mapped Retopo mesh).

Paint 3d Help

PBR Texture Painting: For Texture Artists, 3DCoat has a very familiar UI layout and workflow, as well as many hotkey conventions that are shared with Photoshop. In fact, just 2 hotkey combinations (CTRL + P and CTRL + S) can send and retrieve textures between 3DCoat and Photoshop, so that both applications can seamlessly be utilized in concert with the other. When used across 2 Monitors, 3DCoat and Photoshop can feel like logical extensions of one another ensuring smooth interaction between 3D texture program and a 2D texture program.

3DCoat also has a 2D Texture Editor which can be docked anywhere within the Paint Workspace, allowing the artist to work interactively between a 3D viewport and 2D canvas. What is painted in 2D is updated live in the 3D viewport, while painting in the 3D viewport applies updates the 2D canvas at the end of each stroke.

“Conditions” Painting is a huge part of 3DCoat’s painting workflow. It allows the user to set conditions where paint will be applied, such as “More in Convex/Concave” areas, “More in Shadows,” etc. It’s also integrated directly into 3DCoat’s Smart Material Editor. Do you want more wear and/or metalness on the edges or extrusions? Adjust the amount in the editor and see the changes in a preview window prior to applying it to your model.

The UV and Tweak Workspaces work exclusively with Paint Objects (objects that are imported into the Paint Workspace). The Retopo Workspace can import low poly meshes, then a user can send a copy of it to the Sculpt Workspace, as a starting point for sculpting. Large Scale editing (using the Move, Transform or Pose tools) of the Sculpt Mesh can edit the Retopo mesh along with it, using a Toolbar Option to “Conform Retopo Mesh.”

This means the user can work interchangeably between Voxel and Polygon (Surface Mode) sculpting, including usage of LiveClay Dynamic Tessellation, without losing the original low-poly mesh and yet have the low poly original conform to the changes made to the High Resolution Sculpt object. All these features make 3DCoat one of the best 3D texturing programs on the market.

3D Sculpting: The Sculpt Workspace has a robust set of Primitives and Curves in order to create base objects, with Boolean and FFD (Freeform Deformation) Lattice functionality built in. It also has Models and Curves pallets that can be used to quickly bring in stored mesh objects (Kitbashing). It also has dedicated tools for 3D Printing such as a 3D Print Supports tool and Splits & Joints tool, for separating 3D printed parts with various options for the creation of joints.

Sculpt Objects also have an extensive PBR Shading library for very accurate look development during the modeling or sculpting phase of a project. PBR Smart Materials or Texture Paint can be applied on top of the PBR Shaders for even greater shading options. For example, a cloth PBR Smart Material can be applied to a character’s clothing, while a PBR Skin Shader (with Subsurface Scattering) can be applied to the skin. An Artist can use painting tools to paint additional freckles or skin spots, dirt or grime, on top of the SSS skin shader, and all of this can be rendered in 3DCoat’s Render room, as a still image (ie., for a Modeling sheet) or Turntable, ready to send to a client or Art Director for approval, before baking things down to a Low Poly Retopo Mesh.

3DCoat now has Sculpt Layer functionality built in, with layer level or local (brush) level depth modulation, as well as the ability to erase depth information with a brush. The most unique aspect to 3DCoat’s implementation of Sculpt Layers is that a user can apply dynamic tessellation to a sculpt layer without breaking it. Additionally, Booleans can be applied to a Sculpt Layer without destroying the layer’s depth information. It only erases depth information in the specific area of the mesh, where the boolean is applied. Everything outside the area of the boolean operation is preserved.

As an example, a character could have considerable sculpting edits applied to the skin, such as wrinkles, pores, etc., and should the artist want to merge an object like a horn or finger nail, onto the skin using the same sculpt layer, all the edits to the skin will remain intact (able to modulate depth at any later point), outside the newly merged object. This remarkable technology is simp

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