Why is the emission shader clamping even when I increase the strength to crazy high values? I have made a pretty complex scene in Blender 2.82.. I used an HDRi to barely light a scene(strength 0.05).. I just wanted my scene to be lit by street lamps with an emission shaded ball inside the lamp post… Test renders were as expected.. the scene got fully lit by the lamps..
But after I made a few more changes to the scene ( not touching the light sources ).. The scene was dim and dull.. when I increased the strength of brightness to crazy high.. it still did not light up the scene properly..
The scene:

The lamp post array can be seen is made of 3 different meshes: Pole, sphere emitter, covering
Lamp post material:

The pole material

The glass cover material

The actual emission shader
I did not make any changes since I made the test render.. but now, it does not work as intended..
The test render that was qualified:

After the changes:

Just to mention, I did not make any changes to the scale or move or anything.. I literally just appended new meshes for grass to be used as particles in the field present in right side..
The link for the scene:
https://drive.google.com/file/d/1E0inbkPYmTTkzVnRi2sR15HU8w-BSiIj/view?usp=sharing
Edit1: After testing I found out that any value from 1 to 15000K, does not help in lighting up the scene.. it behaves like EEVEE.... the above render was done with 20K strength.. but still not illumination...
Edit2: I tested spot lamps and they do not light up the scene as well..
Expecting Your help..

Mesh lights tend to be pretty noisy, especially if they are small. I hardly ever use only meshlights to illuminate a scene. If you put one of your lights closer to the road, you can see it does not get clamped, it's just very noisy. My suggestion is to switch to spot lights. Your lamp posts are 12m high, so to actually illuminate the street you do need a lot of power. I set the strength of spot to 20,000, that did the trick. If you are uncomfortable with such high numbers you can use a light falloff node to make the lamp ignore the distance.


Is it possible to set material of one face only in Blender 2.45 (old version)? I have to use an old version (2.45 - from 2007) of Blender*.

I'd like to change the material on one face only on an object. I understand that this can be done by clicking Assign on the Materials tab as described in this answer.

However, there is no Assign button in this version of Blender:

Can this still be done? Or is this a new feature introduced after 2.45?

*: The reason I have to use 2.45 is because I need a script written for this version. The script is VRM SVG exporter with some custom modifications. I'm exporting full-color SVG renders from all angles of an object. The built-in Freestyle SVG Exporter is not good enough for me.

Yes, from the Editing Panel

In Blender 2.45 the button to assign a material to faces can't be found in the Shading Panel under the Material section like depicted in your image.

It is instead disjoined from the Material's editor (where you edit material's parameters) but linked to the the mesh itself, and so grouped with the sections that are about face's properties like shading, editing tools...

You can see the section in the lower left of the following image.

You can find more information in the official documentation.


How do I toggle an objects visibility in blender game engine? Its a pretty straight forward question.  I have tried using the visibility actuator but has no option for toggle.  I have also tried using an animation but it doesn't seem to be working.

This is very easy to do. All you need is a Boolean property to be toggled, and when that property is true, the visibility will be true, and when that property is false the visibility will be false. In this case we are using NameOfProp as the name for the Boolean property, but of course it could be anything.

A working example can be found here.


Python: How can I change custom property for multiple objects at once? I have defined a custom EnumProperty for objects. I want to be able to change the property for all selected objects simultaneously. I tried this:

def set_collider(self, context):
    selected_objs = context.selected_objects
    collider = context.active_object.ECollider
    for obj in selected_objs:
        if obj != context.active_object:
            obj.ECollider = collider

bpy.types.Object.ECollider = EnumProperty(
    items=[('NC', 'None', ''), ('BC', 'Box Collider', ''), ('SC', 'Sphere Collider', '' ), ('CC', 'Capsule Collider', '')], name="Collider", update=set_collider
)

but for some reason blender crashes every time I select multiple objects and change the ECollider property through the UI panel.
 Of course I can always right click on the property and select Copy to Selected but it would be more convenient if I could change the property for all selected objects at once.

Instead of accessing the ECollider like this: object.ECollider now I access it this way: object['ECollider'] and everything works fine. Full code modification:

def set_collider(self, context):
    selected_objs = context.selected_objects
    collider = context.active_object['ECollider']
    for obj in selected_objs:
        if obj != context.active_object:
            obj['ECollider'] = collider

bpy.types.Object.ECollider = EnumProperty(
    items=[('NC', 'None', ''), ('BC', 'Box Collider', ''), ('SC', 'Sphere Collider', '' ), ('CC', 'Capsule Collider', '')], name="Collider", update=set_collider
)


Texture coordinate and displacement modifier I am creating world using texture coordinate node and displacement modifier on plane. But it doesn't work until I apply the displacement modifier. Why does that happen? How to avoid that? Here are the nodes:
Before apply:

I messed around a bit with vector math and found a quick fix:
By subtracting the object's location from the geometry's position output, you can get the same results, regardless of where the object is in the scene. You can then tweak the vector with a vector math node to perfect the result (scaling the object vertically might mess the math up a bit though).
I'm guessing blender hasn't yet implemented your approach with modifiers. In the first image, you can see the original material with the displace modifier applied. The second image is my suggested fix.

Happy blending!


Show mesh vertices ID I am try to do something based on the ID of a vertices. I want blender to show me the vertices ID. How can I have blender show me the ID in the viewport? I do not see an option in the Mesh Display tab.

There's a built-in feature to show mesh element indices, but the option isn't shown in the user interface by default.

Blender 2.7 and older:

The option only shows if the debug mode is enabled.

Start Blender in debug mode, or simply go to Python Console (Shift-F4) and type bpy.app.debug = True
Go to N-panel > Mesh Display
A checkbox Indices will now show
The colors are controlled by the interface theme

There's also an updated version of the Index Visulizer script:
space_view3d_index_visualiser_bmesh.py

Blender 2.8:

It only shows if the developer UI option is turned on.

Run Blender normally
Click Edit > Preferences...
In the Display panel of the Interface tab, tick Developer Extras
or type bpy.context.preferences.view.show_developer_ui = True into the Python console.
Open the Overlays popover in the 3D View
Look for the label Developer and tick the checkbox Indices


Way to apply height data into Displace modifier (or equivalent transformation) on a plane I am quite knowledgeable on Python, but not so much on Blender. And I have no experience on Python scripting (although eager to learn). My problem is that I have some raw data of height from which I want to build a 3D model.

I have thought of two main alternatives

Make a Blender script that reads the raw data and changes the Z value of vertices
Convert the raw data into a Z-height Blender-friendly format

1. Blender Script

Well, it intimidates me a little bit. I have not found a way of accessing the vertices with a sane ordering, and I feel like I will be doing a very ad-hoc thing. However, maybe I haven't look enough at it. I would be delighted to find some similar example, but I have been unable to find it.

2. Blender-friendly format

I thought that maybe using an intermediate representation is a good thing. The data can be reused by other people and adapted. It seems to be resolution agnostic, which is a good thing.

My first approach was using a "Float" TIFF (supported by Pillow). But Blender seems to dislike it (it doesn't seem to read non-colour formats). My raw data is float, so I would prefer to use it. I know that I can use instead a 8-bit grayscale, but this is not enough information for my purposes. 16-bit would be meh-okay --I am ready to settle with that. Which formats would be nice for Blender? OpenEXR seems to be powerful but there is a lack of export tools --I am doing the raw-data conversion from Python scripts.

Sorry if this seems a two-in-one question. But my genuine problem is the one at the top, and I wanted to share some of my thoughts in my two different approaches. Though I hadn't got much far in any of them... :(

Use a RGB TIFF

Ok, it is a tricky solution, and I am not sure the behaviour of the "Fields" checkbox. But it seems to yield reasonable result with my testing toy data. The idea is using the commonly used displace modifier. But, as I could not come up with a friendly format, I use a regular RGB to work in Blender.

The workflow is the following:

Adapt the raw data into a 24 bit resolution (integer), and partition it in three bytes. The idea is that (0, 0, 0) is the lowest, (255, 255, 255) the highest, and the following trivial conditions are assured:

(0, 0, 255) < (0, 1, 0)
(0, 255, 0) < (1, 0, 0)

Save the previous 24 bit into a RGB channel TIFF. The data is a bit strange, but as a matter of fact, you have 24-bit of "information" per pixel.
Make the typical plane > displace > image > etc. in Blender, and activate the checkbox of "Fields".
If I'm not mistaken, you have now a height-mapped 24-bit resolution thanks to the RGB 8-bit per channel TIFF.

Edit: Now I'm trying this with real data, and it seems to fail (the height is veeery noisy, so it seems that I have misunderstood the "Use fields" option, which I cannot find in the documentation. For now, I will use 8 bits of data. Which I am not very happy with.


Beginner here, I want to do something like this First of, I am a completely beginner of Blender 3D. I didn't even touch it in my entire life.
I just finished my Photography And Videography course. I am interested in nature, environments, etc. I am thinking of making a website of photography kind of stuff.
My problem is I can't go to places like beaches, gardens and all that because my town does not have those beautiful things. Suddenly, I came to know about Blender on YouTube. I watched couple of videos showing 3D environments that look so damn real. I mean, ultra HD. Wow! And the best part about that is it has camera to animate it and taking pictures. Since I've done Photography and Videography course, I can easily handle the camera, I guess. The only thing I need to learn is to make environments, camera handling, timeline, shaders, etc. I can grab assets from somewhere.
My question is, from where should I start and what should I do in order to make this dream possible.

If you are a beginner, my recommendation is to watch the full Donut beginner tutorial series of channel Blender Guru on youtube.In that donut tutorial series, you will learn modeling, some sculpting tools, some modifiers, particles and about materials and texture painting. Then try to study all the  sculpting tools so that it will help you to make landscapes. you can fins tutorial series about sculpting in youtube. then try modifiers tools too. So first try that donut tutorial esries.


Rigging a tank turret and gun I decided to make the Panzer VIII "Maus" tank in Blender as a way to experiment with techniques and such on the go, but i had also made another tank before the Maus and since then, i have still not been able to figure out how i can make the tank's turret and gun to be rigged properly.
What i want is for the turret to be able to be rotatable on the Z axys (left and right), but the gun to follow the turret's rotation, WHILE the gun itself can rotate on the Y axys (up and down). Before, n my previous tank, i was able to make the Turret rotatable, but the gun was either left floating in the air, or not being able to rotate, WHILE remaining attached to the Turret.
Here's a pic for a better understanding:

Feel free to point out any mistakes with bone placement, that would also help me as i'm not yet familiar with rigging.
I hope my explanation wasn't confusing or anything.
Thanks in advance for any help!

Each bone has a head and a tail. The head is the centre point of any rotation, so you position the head at the centre point of the pieces rotation, for the turret that is the centre of its connection to the base and for the gun it is the end that is connected to the turret. Position each bone so that its movements make sense for the piece of the tank that it will control.

Now parent each bone to the piece that it is connected to, the turret is the parent of the gun and the base is the parent of the turret. When parenting bones you can choose between connected and keeping offset, choosing connected will move the head to the tail of the parent but keep offset will parent the bone without moving it, this allows the bone to follow the parent and keep its position for its rotations.

To make animating easier you can add some constraints.

For the turret and gun, under transform locks in the bone properties, enable the location locks, this prevents you manually moving the bones in pose mode.

For the turret add a Limit Rotation constraint and enable Limit X and Limit Y and change World space to Local Space, now it can only be rotated on its Z axis. Any time you press G or R it will only rotate the one direction you want it to rotate.

For the gun also add a Limit Rotation constraint. Enable all three limits and change to local space. Now set a min and max value for the X axis, in my quick example I found a max of 32 and a min of -4.2 looks about right, allowing you to rotate the gun up and down without hitting the tank body and not point straight up in the air.

Here is my simple example rig.


Eevee - Crashes on render if render size too big If I set the render image dimensions to something too large, then when Eevee gets to rendering the first sample, my screen would black out (backlight still on) and then some seconds later Windows would come back and the Blender window would be white. Checking on task manager, Blender's CPU and GPU usage is at 0% and killing the process is the only way to close Blender. Rendering at a smaller image dimension would proceed as usual (mark that in both cases, the VRAM usage is 100% and some system RAM is used as well.

My config:

A10-9600P
AMD Radeon R5 Graphics
AMD Radeon R7 M340 (which was R8 M445DX before a driver update and Blender sees it in Preferences as 'AMD Radeon R5 Graphics')

VRAM: 512MB
Blender 2.8 in all the betas I've tried (Q4 2018 - Now)
Scene has volumetrics btw

From the Limitations page:

Memory Management
As of now Eevee uses OpenGL, and GPU Memory management is done by the OpenGL driver. In theory, only the needed textures and meshes (now referred as “the resources”) for a single draw call (i.e. one object) needs to fit into the GPU memory.
In practice, using too much GPU memory can make the GPU driver crash, freeze, or kill the application. So be careful of what you ask.

It is possible the EEVEE crashed on the VRAM size, if the single draw call need more RAM than the VRAM actually have.
The sharing from system main RAM is kind of storage, while the shader program (OpenGL) need all the resources stored in your GPU RAM to run that program. Like a warehouse(RAM) and workshop(VRAM), you can't directly use the thing stored in warehouse.
And the 512 MB is quite small for nowayday OpenGL application, Blender may not focus on these light weight devices support for now, nor does full feature OpenGL. So try to limit some setting in EEVEE to make it fit to 512MB.


problem using freestylesvg My goal is to render the following blender template as svg via blender's built-in svg-exporter plugin:

(zip file can be obtained here)

The final svg file however doesn't look like the result shown above:

Any ideas how to fix this?

As far as I know, Freestyle SVG Export is meant exclusively as a stroke export solution, for the freestyle part of the render only

It is not a full featured rendered solution, for backgrounds and diffuse colors, nor would it even be possible to reliably export the whole rendered output as an SVG file.

I am pretty sure if you tweak the settings of the SVG file in an external editor like Inkscape or any other vector graphics editor capable of opening or importing an SVG file, you can easily achieve the look you are aiming for.

For an alternative solution check out the excellent SVG Output Script


How to use Subsurface Scattering in Principled BSDF The Subsurface Scattering in Principled BSDF is a bit confusing:

Where can I find some recommended presets (like in other software)?
What is the main difference between SSS Color and Radius?
(Technical papers don't help very much, I'm not an engineer)

Subsurface slider

Use it to scale Scattering depth down to realistic values
When set to 0, scattering is disabled

Values of around 0.01 are normal, since you're usually scaling from meters to milimeters.

Subsurface Color

Primary color. Visible on opaque parts and in shadows.
Generally, use the same image/color you used for Base color to avoid color mixing

Subsurface Radius aka Scatter Color

Secondary color. Visible on edges and translucent parts (like ears).
Connect an RGB node or a texture. This is a good place for a subdermal map.
The RGB values here represent how deep light penetrates in meters (!).

Correct radius is important to get right. Scale it down using the Subsurface slider.

Example of SSS setup
Stanford Dragon, 15 centimeters
Marble values set from reference chart below
Subsurface slider set to 0.01, to match SSS depth of marble (~8.5 milimeters)

Recommended values chart

Drag the chart into Blender and use color picker to easily select the colors
For SSS to work correctly, your model needs to be in real world scale.

Source chart from Pixar. Original paper here.

Sources

Link -
Henrik Wann Jensen, Stephen R. Marschner, Marc Levoy and Pat Hanrahan: "A Practical Model for Subsurface Light Transport". SIGGRAPH'2001.
An Introduction To Real-Time Subsurface Scattering, Stanford Dragon - Stanford University Computer Graphics Laboratory, Subsurface - Arnold Renderer, Subsurface - Substance Painter, Subsurface - Renderman


Curve creating in Blender In need to create the curves, I marked in blue in blender and repeat the process for at least 6 times more.

Is there any fast way to do it?

I don't think there's any automatic way to do it easily, what you can do is:

Use the Mirror modifier to repeat the shape symmetrically

Enable the Proportional Editing option / Connected and Sphere mode.

Move one central vertex, the others will follow. I've left the topology as it is (with ngons) but it might need some corrections depending on what's your final purpose.

Use several Array modifiers to repeat the pattern.


How do I get some objects to be rendered with perspective, some rendered as orthographic in the game engine? I use Blender 2.79 (outdated but my ancient graphics card doesn't support 2.8 so I use it).
I am making a title screen for a game I'm working on. In the screen, there is a 3D background and 2D buttons to play the game.
I want the background to be rendered with perspective but I want the buttons to be rendered in orthographic.
I have tried using the "Add Overlay Scene" actuator but then the buttons are not clickable.
How do I fix it?

You can set a camera to render orthographic if you render the 3D and 2D objects separately.  Although, for a game, wouldn't you just make the buttons separate anyways?


According to what method is 3D cursor's location in 3D View determined when left clicking? When left clicking to position the 3D Cursor in 3D View, when in User Perspective view or User Ortho view, and more precisely when there's no object under the mouse, the position of the 3D Cursor looks random. I know it's not, there must be a way Blender determines it's location, but I can't find that out, is it a specified distance from view? In case it is, what is it, and can this distance be changed and manipulated?

The 3D cursor moves in the plane facing the view you are in and intersecting its previous position.

Is you set up this configuration : a camera (bottom right), a plane (selected) 90° intersecting the camera view, you can notice this behaviour.
Go in the camera view using 0, click somewhere to move the 3D cursor, and come back to the top view. The cursor will stay on the plane.

The distance of the plane is defined by the normal vector N of the view (N normalized) dot the camera-"prev cursor position" vector. Or if C is the camera, P the previous position, the distance is ||N.CP||


How do you move a face without creating another faces? enter link description here

In shown image and video

Number 1 is the problem I don't understand.

Number 2 is the final result I wanted.(mirror modifier in it.)

Number 3 is to test and compare with Number 1

Whenever I try to scale the Number 1 up to Z, it also creates unwanted side faces around it(this happens a lot and always confuses me). But Number 3 scales up properly without creating ones.(Newest objects tend to not create those)

What is the difference between Number 1 and 3? What am I doing wrong?

There are multiple vertices on top op each other. Go into edit mode, select all (press a), and then open the tools panel on the left by pressing t. There's an option called "Remove doubles". Press that and you should be fine.


How can I add more animation to my existing animation? When I make change to an existing animation, such as colour of object, and press animation again, it won't animate. What am I missing?

I'm just learning blender 2.76.

In order for the changes you make to an object to be saved, you need to insert a keyframe on the property or whatever it is that you changed. To do this, in this case, mouse over the color field and press I.

Alternatively, you can open the graph editor, by selecting it from the dropdown that appears when you press thebutton on the bottom left corner of thewindow (in the default screen layout), and then edit the f-curves for the property you wish to change manually.


How to make good camera tracking markers I am going to be making a scene where I will be using camera tracking for the first time and I was wondering how to make good markers for good scene tracking... the scene is going to consist of just white drywall with a ball smashing through it from the inside of the drywall into view... I will be using cell fracture and bullet constraints for the scene... If there would be any other good tips for me to know, it would be great if you could comment it... But I need to know how to make good markers for camera tracking... Thank you very much!

For proper tracking you need to find features that are distinct and recognizable form frame to frame. Usually points with contrast or a color that is different than the background.

A white wall with no such features will not give you much information for proper reconstruction so you will need to add something that the trackers can follow.

When you shoot the scene you can add pieces of color tape or things you can stick to the wall that will provide a good reference (like putty, or color plastiline dots). Depending on the size of the frame usually pieces of tape cut in triangles work well. Sometimes a piece of tape in the form of an X will work.
Others use color stickers or pieces of paper with black and white patterns.

When you make a shot meant for motion tracking try to avoid sudden moves that might distort the image or create motion blur. Or that will make the trackers less readable.

Keep in mind that for a proper reconstruction you need at least 8 tracking points. But don't limit yourself to only that number, have more just in case the tracking process fails.


How to create a Nebula in Cycles? I'm trying to create a Nebula walk through using Blender but my final art is unrealistic. I would like to create a realistic nebula without Image backgrounds... I used particle System and clouds, but the isn't realistic.
Any suggestion? Or tutorial?
Thans in advance.

Update 1: It seems that the best approach is using the "Quick effect smoke." I'm working on it and here you can find my first render...

Update 2: More tests. Now the background is a Ocean System and Clouds with Particle System... I think looks better...

Final Update: The easyest way is create an Ocean (via Ocean System) in Cycles render and some durst and stars (via particle System) in Blender render; and mix both scenes in Compositor. Here you can find the final render...
https://youtu.be/-Lx_U_Z3Z6s

Here's what I came up with using the ocean modifier and a volume shader:

I used a cube with a volume emission particle system to add stars:

I had planned to use a smoke simulation with the ocean objects as emitters, but a smoke rendering bug is preventing me from testing this atm..
Will update further once the bug is fixed.


How would i create a realistic coat material for a horse model of mine? I'm wondering how I could make a more realistic material for my horse:

So far it's just an image mapped on to a diffuse shader. I want a more realistic coat. Also, I was messing around with hair particles, but couldn't get a realistic mane and tail. I've tried so many things for both of these, but I cant get it right. Any ideas?

I have a similar problem; I need to render a horse in Blender Render for work, and the best thing I've found so far is to add noise to your texture, and then use the noise layer as a bump map. With horses, I've found, having good definition of the muscles on the body really helps a lot.  Alas that's something I'm still working on.


Unwrap torso part creates a messed up UV map I extracted a part of a body to buid some clothing from (Unity UMA).
The original body was perfectly UV'd.
Since I want to cover a part of the neck by my shirt I added one row of rectangles from the neck to the torso by removing the neck seam and extending the shoulder seam.
Once I redo the UV mapping (unwrap), the UV map is messed up. Triangles overlap and exceed the map range.

Pictures before and after uv unwrapping

I doublechecked the seams, they are without any gap.
I even added an additional, obviously not necessary seam at the neck end.
I reseted the UV before.
I removed the seams and reapply.
I removed the seams and cut along shoulder and side like reat shirts.
I removed all material from the mesh.

The result is the same, ot at least it's always a messed up UV map.

I'm quite sure I missed any simple step, an expert will shake it's head about.
All tutorials just apply the seams and get a perfect mesh immediately.
But I'm stuck and out of any idea to solve the issue.

Fiddeling around and examing a large number of related topics I found the solution by myself.

It seems the mesh is pinned (to whatever) and has to be freed before.

Select the mesh in edit mode
Go to UV mode/window and select all (A)
Unpin the mesh in UV mode (Alt P)
Redo the unwrap in UV mode (E)

Voila!


Using Python to add object with specified number of vertices? How, in Python, could I add an object with a specified number of vertices n, all of which are at, say, the origin (0,0,0)?

To do this:

Press Shift+C to position your cursor at the origin (0,0,0)
Follow this answer to create a mesh with a certain number of vertices


Texture Painting vs. Materials Assigned to Vertices I've been wondering what the best method of coloring different parts of meshes is.  I know that it is possible to assign different materials to different vertices, and there is also a Texture Painting mode.  Which ones is better for coloring characters?  What about architecture?  Vehicals?  Also, as a side question, is there a way to turn on symmetrical editing in the Texture Painting mode?  Thanks so much for you help.  Happy Blending.

In short, texture painting and materials serve different purposes, it's not really an either-or situation.

Basically, texture painting is creating a texture, not a material; materials are different than textures.  A material tells the render engine how the object interacts with light, a texture is simply a set of colors.  Textures are very useful for creating materials, textures can be used to determine the color of an object, be used as a mask, etc.  But in order to have a render you have to have a material, textures are just a part of a material and texture painting is just one way of creating a texture.
To paint a texture onto an object using texture painting the object must be unwrapped.  Then as you paint the texture on the object in the 3D viewport, Blender paints on a 2D image in the UV/Image Editor.  This texture can then be saved as a .png (or other picture format) and used in a material to affect the rendering.
To assign a material to individual faces, select the faces in edit mode and hit the assign button in the material editor (with the proper material selected of course).  This will assign that material to those faces.  You can have the same material applied to many different objects, whereas (unless they share the same UVs) a texture painted on one object almost always won't look right at all on another.


how to add object to a keyframe range? lets assume we have an iron man pointing his hand to a target and shooting few frames later as shown in the picture below:

frame 0 to 10 he will point frame 11 to 15 he will shoot, which is just a long cube with one larger face to give idea or a laser projectile

how can I add the projectile cube only on frame 11?
I don't what it to exist before that

thanks

You could keyframe the visibility and the renderability of the shot object in the outliner (RMB over the icons and insert keyframe:

Disable visibility and renderability in frame 0 and add keyframe
Enable in frame 11 and add keyframe


cycles bake seems to have lost some UV data I have modelled and textured a simple object using separate materials on the different parts of the object.  I then created a separate texture and baked diffuse AO and normal all saved as separate textures using a 2nd UV map.
This all worked fine.  I then deleted all the materials and the original UV map.
I created a new material with just one texture (the baked diffuse of all the sub materials) This material only seems to map to the UVs of the last sub material I deleted the rocks and grass. In edit mode I can see the UV mapping seems to include all faces.
here is the object in edit mode with all faces selected......

Have I missed something obvious with assigning the UVs ??
As you can see in the top rendered view only the rocks and grass on the ground  show the texture . In the lower image all faces appear to have correct uvs so why is the texture not appearing on all faces in the rendered view ?

Solved..........
Even though I deleted all the sub materials that I baked into the one texture,  the material slots were still there.
Once I deleted all the no longer required sub material slots the face textures appeared as expected.


Removing dotted assist lines? Problem only occurs when Appending! When I open the file directly from my desktop, these assist lines don't seem to show. But when I Append it, these random dotted lines appear that seem to point to its parented object. Is there any possible way to hide these lines, because they can start to get really distracting when animating. Picture of my problem:

You can hide that in display tab by deselecting Relationship Lines.

Press N while in 3D-view, then uncheck the option in "Display":


Beginner- Bevel Question Hi Blender Community,

I have a noob question. I've noticed that when I bevel a cube, the bevel turned out to be evenly distributed. However, when beveling a rectangular box, I am noticing the bevel is scaling in proportion to the long and short length of the box.

I figured that if I then try and rotate them locally, it might do the trick. But I've come to realize that unless there is a menu that I can punch in the numbers directly, I wouldn't be able to know for sure if the angle is exact.

If you all can help shed some light on a method that worked for you, please let me know!

I'll attach a photo so that the problem is easier to understand.

Thank you!

You change the scale of the object, right? It will make the whole object being transformed. While bevel, as an operator, only work in mesh edit mode. It wont consider the scale of the object. (Ctrl+A can apply the scale)

And almost every operator(Redo Last operator) will give you a floating dock to tweak your option in the left-bottom corner. If it doesn't appeared, try hitting F9 (F6 for Blender 2.79 and below).

And if you want more control over the bevel, try out bevel modifier:

You can custom a lot of effect with edge weight, one should always consider using modifier unless the task is not complicate and don't need further modification.


Keying Set Failed To Insert Any Keyframes error message? So I'm working on an animating project and I think I clicked some hidden hotkey because I'm suddenly getting the error message "Keying set failed to insert any keyframes". For some reason none of the solutions online seem to work/I can't find where people are talking about. I have deleted the keying groups among other things but nothing seems to work. Thanks!

You've set your Keying Set (1) to Button Keying Set, but you didn't add any properties for keyframes to be added to (2). That's why when you press I no keyframes are being added. To change that, you need to get rid of the Keying Set by clicking on x sign or setting something meaningful, like LokRotScale for example.


How can I remesh a curve that has been converted to mesh? Is it possible to somehow remesh plane?
I have a logo that needs to be curved along an object. So I import the SVG logo and convert it to the mesh. But the plane has a bad distribution of polygons and vertices so when I use the shrink wrap modifier it breaks in some of the parts.
The remesh modifier looks to work only on models with some thickness. I ended up manualy cleaning the mesh, but wanted to find a faster way.
Beautify faces helped in one of four cases.

For this kind of work I would use the RobinBetts© method:

Import your svg, convert to mesh, simplify with X > Limited Dissolve.
Create a plane in front of your object, subdivide it vertically (probably more that what I've done in my screenshot). Delete the faces of this plane to keep only the edges.
Use the Knife Tool project to project these vertical edges on your object.
Give some corrections to your object so that it has a non-too messy topology.
Bend it (with Simple Deform / Bend mode or other) it has what it needs in terms of vertical edges to bend nicely.


Blender Boolean Not working? The difference boolean does nothing on the model
i did check:

face orientations is correct, all blue
merged by distance for all meshes
objects are closed, no holes.

what im trying to do here is cut the 'magma' into this volcano.

The former Boolean bugs as soon as you have overlapping edges, vertices or faces, you need to use the Exact option in the new Blender version and it will work fine:


Relax some of the pinching in uv texture grid? I've unwrapped this object and probably cant fully straighten the map without causing insane stretching given the shape of the piece - however I wanted to know if theres a way to relax the pinching (3,4) on some parts of my model, would I have to make more cuts... and if so where? Or would it be fine?

The only thing i could really think of is projecting from view but I don't think that would be good for the model you're trying to texture.


How to make objects more visible in wireframe mode? My basic cube looks like this in wireframe mode:

It's almost invisible. And I saw others' looks dark and thick:

My viewport shading options are exactly the same as his. I know there is a "random" option to make it more clear, but I don't want random colors everywhere, just darker and visible wireframes.

You probably accidentally changed the wire color.
It can be found in Preferences > Themes > 3D View > Wire.

And don't forget to save your preferences :).


Modeling a kitchen sink - Bevel issue UPDATE: Included the .blend file:
Blender novice here. I'm trying to model a kitchen sink and i'm having an issue immediately with trying to bevel a certain edge. I've looked through various of the suggested questions/answers but it didn't really help me. This is the sink i'm trying to model:

I've created the basic mesh in blender as shown below:
Solid view:

Wireframe view:

I'm trying to bevel the edge as shown below but the beveling doesn't seem to happen along the expected edges:

By contrast, when i attempt it on one of the other edge, it seems to happen as expected:

I suspect it's not working because there are additional edges/vertices that i need to be taking into account or including at the bevel attempt? Could someone assist?
Many thanks!

I have opened your file and checked that you have 26 overlapping vertices. try going to mesh then clean up - merge by distance.


Using Blender with cell fracture and trying to add collision via Python Using Blender with cell fracture I have created a code that should select the objects created by cell fracture and give them the collision attribute and it does but only one out of a 1000. So it doesn't really work but then I am a newbie to Blender and Python so what I want it to do is select one object give it collision and move on to the next object created by cell fracture and give it collision and do this until it is done.

By the way I am using Blender version 2.69

This is the code that I have so far written and I do not know why it is does not increment to the next part.

    import bpy
    from bpy import ops
    for i in bpy.data.objects:
          if i.name.startswith("Sphere"):
    # Select object:
          bpy.ops.object.select_pattern(pattern=i.name)
    # Add modifier:
          bpy.ops.object.modifier_add(type='COLLISION')
    print("finally! this code saved you from clicking your mouse 1400 times!!!")

First thing - you loop through all objects and then run bpy.ops.object.select_pattern() which will change your selection. It would be better to run a loop as for obj in bpy.context.selected_objects: Which will let you select the objects you want the script to alter.

The operator bpy.ops.rigidbody.object_settings_copy() will copy the rigid body settings from the active object to the rest of the selected objects. You don't need to write a script to do this as it is already available. Press T to show the toolbar and under Rigid body tools you will find a button to Copy from Active.

There is an addon called Copy Attributes Menu that you can enable and it will Allow you to copy modifiers from the active object to selected. Unfortunately it doesn't copy the collision settings. You can copy the collision settings individually by right clicking on a value and selecting Copy To Selected. This can be done with many properties.

If you still want to write a script you can start with something like -

import bpy

for obj in bpy.context.selected_objects:
    obj.modifiers.new(type='COLLISION', name='collision')
    obj.collision.permeability = 0.3
    obj.collision.stickiness = 0.25

For a collision modifier, you can only have one so always using modifier.new() is ok, no matter how many times you run the script. With other modifiers you may want to test whether one already exists before creating a new one.


Failing to chisel (boolean difference) text on a cube side I'm trying to create a gravestone with chiseled text on it.

I have a cube (the stone) a text for which I added some depth and bevel, and then converted to a mesh.

I positioned the text so that it's partly "inside" the cube and tried adding a boolean difference modifier on the cube (cube - text), so that the text would be chiseled in the stone.

This gets Blender crazy. Initially nothing worked. I used a decimate modifier on the text to reduce its complexity, and now A few letters are chiseled, the rest are not.

This is how things look when Both the cube (headstone) and the text (now a mesh) are visible (there's another grave base object, but we can ignore it):

The gravestone has the boolean difference modifier, and if I hide the text, this is what I see:

What can I do to make this work? I don't actually need to render this scene, I want to
convert it to an STL file and 3D print it.

More info: As stated in the comments, this is due to the text being non-manifold. Actually, it has 2000+ non-manifold edges!

If I try to remove doubles, it just deletes the entire text. No matter what the double threshold is (tried 1mm, 0.1mm, etc. - I'm working with metric units).

Any suggestions on this?

The file with the issue can be found at: this location

Another file can be found at: this location.
This time, I've used the remesh modifier, but it only worked for one text object (converted to a mesh and remeshed), not the other two. The difference between the one that works, and the others that don't is that for the first one I used Octree depth = 7, and for the other two I used Octree depth = 8 (as 7 wasn't smooth enough).
To test this, just replace the object used in the boolean modifier of the cute from 'RIP' (which works) to either 'iGoogle' or 'years', which don't work.

Try adding a remesh modifier to the text:

Then the boolean modifier will work as expected:


Modelling and texturing a hole/crack in a wooden floor I'm fairly new to blender and I'm trying to model a wooden floor (floorboards etc) including shading/texturing with a crack/ hole in the centre of the floor. What do you think is best way to go: model the floor with splintered floorboards (etc) then texture onto that? At the moment I'm finding it difficult enough modeling the floorboards so it would be a big help to have ideas of what the workflow should be.

Wow thanks I didn't realise until now that I had answers. Thanks for the feedback. This is very helpful.
To be more specific I have added an image. I am trying to model a large area of wooden floor with a hole/crack in the middle. The actual interior space this is based on is 6.5 x 36 metres - that is 306 floorboards long - see the attached photoshop mock-up of the floor. I'm still struggling with working out how i should proceed. I've spent a whole weekend trying to achieve this by using the array modifier, following this video. I can create a floor this way but not with a hole in it. Has anyone got any solution? or suggestions of workflow. it has to be fairly simple as I'm not advanced with Blender. I want to create this floor for a series of simple walk-though animations and still shots.
]2

Think about the shape of the material you're using, and the shape of its internal structure. Wood is fibrous, it's made of many grains, all laid out roughly side by side, very long and thin. This means its internal detail, weak, and strong points are longer than they are wide. to model a broken board, I'll usually model a shape not unlike a brick with a jagged side, then stretch it out till its the length of the board I need.

you can also add some separate, thin meshes on one side or another, to look like splinters poking out. cracks along boards, meanwhile, almost always follow the grain.

as always, reference helps a lot. https://eduardlocota.com/product/brokken-lamp/ https://www.artstation.com/artwork/kqwWd

an easy shortcut is to make the model high poly, then using proportional editing set to random, pull out the center vertex from a side. then smooth it out a bit, and repeat. this'll give you two levels of complexity to the break - an uneven shape, and splintered ends.

as for texture, it'll be tough if you don't simply separate the broken side from the intact side. because the cracks usually happen alongside the grain, when texturing you might want to line up a few of the longer cracks with more visible grains.


How to highlight as object in the 3d View/Outliner? In a script of mine I want to make an object stand out among the others in the 3D View, so that the user can see which object are affected by it.

I'm open to suggestions, but I was thinking about:

Change the highlight color of the object (like when objects in groups were green) in the 3D View
Change the background color or the Text color of the object's name in the Outliner

This is what the object panel looks like on the right, in the display section you'll find the option i'm talking about


Adding keyboard actions in 2.82 Where is the Add New keyboard shortcut feature in 2.8?
Why 2.7X keymap in Blender 2.8 doesn't have keyboard shortcuts from 2.7X?
Why exporting a keymap from 2.7 imported in 2.8 doesn't work?
How to copy keymap from 2.7 to 2.8 if the Export/Import feature doesn't function?

You can add shortcuts by right-clicking a menu item or button and choose "Assign shortcut"


Video Sequencer Cache Button Exists? Is there a button in the Video Sequencer that, when pressed, will cache as much of the timeline as possible?

In the preview sidebar, you'll find Prefetch Frames:


Unable to save rendered image I use Ubuntu Trusty Thar, Blender v2.69.
I'm unable to save rendered image; the only save dialog I get is the one to save as a Blender file.
I watched the tuts, I press Fn + F3 and get Save as blender file option and was unable to change.

Tried Shift + Ctrl + S and get the same panel with no option to save other than as a Blender file

Although F3 didn't work I found the Image menu entry located in the bottom left corner shown on screenshot.


Number of Cuts when subdividing When subdividing a plane I want to have 150 cuts (number of cuts) but the system does not allow me to enter a number larger than 100. Is there a way to change that ?

By the way, Blenderguru entered 150 cuts in this tutorial at about 07:30 min

As an alternative instead of subdividing a plane you can create a grid object.

Then have 150 subdividsions for X and Y. And on top of that you can click on Generate UVs. No need to unwrap and all of this in object mode!


Slate Stone 3D Model I would like to displace a plane with a texture of a slate image to get a realistic 3D stone model. It should be fractured, liked this image:

http://www.randomghost.com/post/86272286137/shrbr-fracture-series-by-flight404-on-flickr#=

Everytime I try to displace any plane (no matter how high the number of subdivides) I end up with something that resembles this:

And this does not look anything like a realistic slate model. Is there any other way I can use to transform the plane to achieve this effect ? Can I achieve the same effect with Cell Fracture and if so how can I do this ?

Thank you very much.

If you are using Blender 2.78 (set to experimental)

You need to first take that image and blur it slightly. Then Make sure you subdivide your mesh and unwrap. Add a subserf modifier, click adaptive. Then set everything up as you see in the images below.

You are getting those spikes because the image is not blurred.


How to get around bpy.ops.object.material_slot_assign ()? Faced with a problem that causes crash Blender 2.80.
For automation I created a script from a sequence of actions which works great if I run it in the blender console window, or if i Run Script in a text editor.

But when I run this script through the command line without the graphical shell of the blender - he crashed.

Еhe exception method was used to find the reason.
This is the command bpy.ops.object.material_slot_assign ()

She is responsible for applying the material to the vertices in Edit Mode.

import bpy

bpy.ops.object.editmode_toggle()
bpy.ops.mesh.select_all(action='SELECT')
bpy.context.object.active_material_index = 1
bpy.ops.object.material_slot_assign()

If I exclude bpy.ops.object.material_slot_assign (), the script succeeds, except that the materials are not used.

Who knows how to get around this command?

A little later, I reported to the developers and they fixed this error. T70714 This question has ceased to be relevant.


Mouse is painting, stylus is erasing I am using Blender 2.91 and a Huion stylus. I set up a simple mesh, with a texture material, and switched to texture paint mode, using the default brush. Everything is working great when I use the mouse, but when I use the stylus it's behaving like an eraser and it's clearing whatever I touch to alpha 0. See video below.

Larger image. Left screenshot is what I get after left-clicking with the mouse and dragging; right screenshot is stylus-down and dragging.

What's going on?
Some ideas
Could it be a virtual/button/mapping issue of some sort? Under which condition the same thing would happen when using the mouse? Maybe if a modifier key is pressed?

Even though the poster was having a different problem, one of the answers to another question Painting problem when using pen in Blender seems to do the trick for me. If I change the Preferences > Input > Tablet > Tablet API to Windows Ink then the stylus paints with the selected color.
I have no clue why this is happening though; I will accept any answer that sheds some more light on this issue.


Weird edges with solidify and subsurf modifier I am making a model of a ferrari 458 and and currently I'm facing a problem I can't solve. When using the solidify and subsurf modifiers, the areas where the mesh is connected on the diffuser have creases. I have tried rebuilding all the area from the beginning, smoothing the vertices, faces and edges and merging by distance, but nothing worked as intended.
Any thoughts on this?

You have inner faces, what we see is the shading between the outer and inner faces. If I select these faces and hide them:

I can see this face:

Delete these faces.


What are the benefits of modeling in one piece, or as separate parts? Is there any benefit of creating model in one piece or I can create separate pieces and just overlap them to create a visually joint part.

For example, the below image were made from two parts
1. Blade
2. Spinner

Is there any benefit to model them (e.g. extrude from the spinner) or it is actually ok to have them separated since visually I can achieve the same effect (See picture 2)

The way I would go about that example, there would be separate objects for the hub and the blade. In the situation you described there is no reason to add vertices to the hub and extrude the blades out. In a real propeller there are separate pieces. There is no need to make modeling and texturing the propeller harder then it needs to be.
Another way to look at it, what do you gain by having the blades extruded from the hub? From modeling, texturing, rigging and animating in this case it is all easier with separate objects.


How can I add an ant terrain to an arbitrary shape? I am attempting to create 3D hex models that can be used in the board game Settlers of Catan. Many of the tiles are based on geographical features (such as a mountain). The tiles are also regular hexagons. As such, I would like to use the ANT Landscape plugin to create the terrain shape and then apply it to a hexagon. I can use the circle tool to create a regular hexagon by setting the number of vertices to 6. When I create a hexagon in this manner, and then add an ANT landscape to it (by simply positioning it so that it's outermost points align with the Z value of the hexagon), I get the following:

This has two major issues:

The landscape is too small (I would like it to cover as much of the hexagon as possible, ideally with falloff based on the hexagon rather than square shape)
It is impossible to have a recessed landscape as the hexagon's surface will cover it. Removing the hexagon leaves a square landscape which isn't what I want.

How can I solve both of these issues?

Start with a cylinder with 6 vertices. (a hexagon shape)

Then, add your landscape. Play with the settings until you like how it looks.

Now, add a Boolean modifier on your landscape mesh. Make the operation set to Intersect and the Object set to the 6 sided cylinder we added previously.

Apply the modifier. You may now delete the cylinder. it is no longer needed. Enter edit mode on the landscape mesh, and select the bottom faces using face selection. Using vertex selection, deselect the 6 vertices on the bottom. Then, with proportional editing enabled, scale the vertices that are still selected along the Z axis to 0. Move them down slightly. Delete the vertices at the bottom.

You now have a hexagon shaped landscape.


How can i select by number of vertices? I have the latest version of blender and i downloaded a script called mesh_face_info_select.py which lets me select all tris quads or ngons of the mesh but i get an error when i use the script where the operator bpy.ops.mesh.select_by_number_vertices is not found. I assume that it was removed from blender? I have searched in google but didn't find anything.

Sounds like the script you downloaded has a bug or is used differently.
You can try contacting the author and describe the error, s/he might fix it.

Anyway, you can paste this to your text editor, change the value of vertCount and press "Run script", it will select all the faces with the number of verts specified in the vertCount variable.

import bpy, bmesh

vertCount = 3 # <-- Faces with this amount of verts will be selected

bpy.ops.object.mode_set( mode = 'EDIT' )
bm = bmesh.from_edit_mesh( bpy.context.object.data )

bpy.ops.mesh.select_mode( type = 'FACE' )
bpy.ops.mesh.select_all( action = 'DESELECT' )

for f in bm.faces:
    if len( f.verts ) == vertCount:
        f.select = True

bm.select_flush(True)


move clip to next empty channel script I have 10 to 20 movie clips on a single channel in the VSE.

1) Is there a way to distribute each clip to its own individual empty channel?

2) Keep the clips start point and extend the end points to the end point of the last clip? maybe with:

py.ops.sequencer.select_handles(side='RIGHT')
bpy.ops.sequencer.snap(frame=something)

is it possible to automate this process with a scrip? any pointers would be appreciated.

Here is a test script.  All strips on channel 1 are selected, sorted by frame_start,  then added to channels 2, 3, 4 etc.  and extended to the frame_final_end of each to the frame_final_end of the last strip.

import bpy

context = bpy.context
scene = context.scene
se = scene.sequence_editor

strips = [s for s in se.sequences_all if s.channel == 1]
strips.sort(key=lambda x:x.frame_start)
print(strips)
end_point_of_last_clip = strips[-1].frame_final_end
for i, s in enumerate(strips):
    s.channel += i
    s.frame_final_end = end_point_of_last_clip


Antimation-how to make object visible then invisible I am creating a small antimation, where I need a few objects. One which is text to appear then disappear, and one object to disappear at a given frame setting(s).

I know the eye button in the outliner can do this, but how do I work that in using key frames?

In Blender Internal you may achieve it keyframing the alpha transparency values. E.g. in frame 1 hover the cursor over the Alpha slider with the value set to 1.000 and press I to keyframe it. Then go to frame 2, change the alpha value to 0.000 and keyframe it again.

In Cycles you can keyframe the Fac value of the Mix Shader (which mixes your shader with Transparent shader).


How to add details from an image to a model I have modelled a tombstone from a reference image.
Pretty happy with the general model, but would like to also model the skull and the wavey lines as you can see in the reference image.
But how would you do it?
I tried to do so by creating vertices one by one but it didn't workout.

I also did some seaming work, but stopped for now.

There are several ways to about getting the detail or illusion of depth on a simple or flat model. The fastest IMO for a use case like this is to use the Displace Modifier. Simply Unwrap your object or the face you want the detail on or in this instance, it might be better to do a Project from View and then scale the UVs to match the image.

Next add a texture and set the Mapping coordinates to UV and use that texture in the displace modifier. After that, just tweak the settings until you are satisfied, the Strength value is the one you will primarily use.

Two things that can improve the final result.

Convert the image to grayscale (black and white) as the displace modifier works best with explicit black and white values
Use a flat surface and subdivide it several times rather than modeling extrusions etc, the modifier will handle all of that

Here is a quick test using the same image as yours with the steps I outlined above on a flat plane.


Issue Rendering Hollow Objects Im not sure why i can't look inside the cups so any help would appreciated! I tried making the faces double sided and I tried making the normals consistent. I haven't found any help online so i have come to you guys! thanks

there's nothing wrong, and actually you can look inside of those objects. your lamp (probably a sunlamp) is directly above your scene and lights everything inside of the objects in the same way. so there are no shadows or reflections that would indicate holes in the cups. try repositioning your lamp if the look bothers you.

Edit:
Don't feel like a fool. perpendicular light always looks a bit odd.
Take this image for example. It's taken on the equator at noon. Looks like a computer game from the early 2000s.


How do you apply a gloss map? I've searched all over the internet for this and nothing has come up. Everything is about spec maps which I don't want.

I would like to know how to apply a gloss map to a material in Blender Cycles.

I have a marble texture with an image texture input to a diffuse texture, and a glossy shader with a white colour. Both are being put into a mix shader.

I have downloaded a gloss map but I don't know how to apply it.

Any help would be greatly appreciated.

Thanks in advance.

A gloss map is a map of specular power, the inverse of a roughness map.  Read it as non-color, then subtract it from 1 (but see below) via a math node and plug it into the roughness value of any/all shaders.

There is no single, standardized format for gloss/roughness/specular power-- there are instead a lot of different ways to map from color to gloss, depending on engine.  So in order to use a gloss map correctly, you have to know the engine for which it was made, and then you have to know how that engine interprets gloss.

Or you could just wing it.  Start with the simple inversion I mentioned above.


OSL Debugging with fprintf I'm trying to use debug functions to achieve an unusual behavior with OSL in Blender. I'm trying to use the fprintf function but I'm getting the following error:

ERROR: Parsing shader "node_test": instruction "fprintf" is not known. Maybe compiled with a too-new oslc?

Can someone help?

Thanks!

The OSL documentation states the fprintf function for already a long time. but the actual commit has been done last summer. The OSL version blender is using (1.7.5) does not have the code for fprintf. The fprintf function is supposed to be released in OSL version 1.9.1 1

It is unclear when blender will update their current OSL version to this version. Developers of Blender are still planning on this subject, and I have found several commits to support OSL 1.9 in cycles.


Minecraft Animation: My grass has black texture after render. How Do I Fix? For some reason when i render my scene in Blender my minecraft grass texture has a black background, not all the grass has the black background but most do and it is an annoyance. I just want to know how to fix it. I didn't change any settings, and I can't seem to find a solution anywhere after googling for an hour. There is a video how ever it is using Blender Render, and I am using Cycles.

It looks like your light bounces are low for that many transparent images.

Try increasing your transparency light bounces under
Properties > Render > Light Paths > Max Bounces > Transparency


Create noise texture and set its influence rgb value? I want to create a texture of type 'noise' and modify its influence rgb value. Doing this in Blender, I see the following in the info window:

bpy.ops.texture.new()
bpy.data.textures["Texture"].type = 'NOISE'
bpy.context.object.active_material.texture_slots[0].color =
    (0.676377, 1, 0.268503)

Trying to translate this to a python script:

myTexture = bpy.data.textures.new("myTexture", type="NOISE");

myMaterial = bpy.data.materials.new(name="myMaterial");
myMaterial.diffuse_color = (1, 1, 1);
myMaterial.texture_slots[0].color = (0.45778, 1, 0.223341);

the last line fails:

AttributeError: 'NoneType' object has no attribute 'color'

What's the right way to do this? Here's a screenshot of the blender UI, I have a new texture selected, and I'm modifying the rgb box at the bottom:

Thanks

Here's some sample code for creating a new material, texture slot, texture and setting it all up together as specified in your question:

m                   = bpy.data.materials.new( "MyMat" )
m.diffuse_color     = (1, 1, 1);
obj.active_material = m

ts                      = m.texture_slots.create(0)
ts.texture_coords       = 'UV' # Assuming this is what you want, could be any of the following: ('GLOBAL', 'OBJECT', 'ORCO', 'UV', 'STRAND', 'WINDOW', 'NORMAL', 'REFLECTION', 'STRESS', 'TANGENT')
ts.color                = (0.45778, 1, 0.223341)
ts.texture              = bpy.data.textures.new( "TEXTURE", "NOISE" )


Combining Different Animations/Skeletons I'm currently working on my Alternate Realities Project held by Pwnisher. I already have the base animation completely rigged with a character. I only want to change the animation of the arm bones with a Mixamo animation. Is there a simple way to combine the animations or do I have to hand animate it?

A mixamo animation, in order to work, has to share the same exact names between its channels and the bones of your rig.
In order to work well as expected the rotation rest pose of your rig should be the same as the rotation rest pose of the original Mixamo rig.
If this is not the case you have to perform a "retargeting", which is too complex to explain in a short answer (there are tutorials, addons, end even manual procedures to perform).
When you reach theese conditions you can stack the mixamo animation on top of your previous animation with the NLA editor, turning off or overwriting the arms channels on your animation and turning off (or deleting) all non arms related channels in Mixamo animation.


Connect sculpted sub-terrain to create tunnels? I wish to create sculpted tunnels, more specifically connecting two or more adjacent inward faces with a tunnel.  I am open to other solutions as long as it accomplishes the goal of creating a tunnel.

You may do it deleting some vertices for both sculpted elements and join them using faces (with the bridge tool or F2 e.g.), then resculpt the joint, but it may be time consuming. I recommend you to use a Direct Union option of a BoolTool add on.

Activate it in User Preferences (Ctrl+Alt+U).

In Edit Mode select a fragment of your element and separate it with P-->Selection.

Enter Sculpt Mode and join elements using Snake Hook brush e.g.

In Object Mode select both separated objects and press Shift+Ctrl+Num+ (or press Spacebar and type 'direct').

It'll merge your sculpted mesh, so it'll be ready for sculpting. Then you can smooth the joint's transition using Smooth brush e.g. and sculpt some detail there.


Cannot Set Material to Metaballs I'm still fairly new to Blender and I have a question I cant seem to find the answer to. I'm trying to make this low-poly bonsai tree by creating leaves with Metaballs but I can't seem to set the material for the Metalball groups.

As you can see, the material field is blank. I don't know if I'm doing something wrong, or I haven't turned on the proper settings. Please help! Thanks :)

scroll up on the properties window (see that bar on the far right?


When exporting as .FBX, I don't have the option "include animation" that I've seen in tutorials I've been working at this for a while now and have uninstalled and reinstalled Blender.  Is it possible that I haven't animated properly and the export menu is contextual?  I set my key frames, and it animates in the 3D view and the transformation appears in the graph editor.  If more information is needed, I can supply it.

I'm sure there is something very obvious I'm missing.

The following settings work for me with bridging Blender/UE4 but they may differ from engine to engine.

Use 'Armature + Mesh' to transfer the model and its associated rigging.

Use 'Armature' only to transfer subsequent animations.

Be sure to uncheck 'Add Leaf Bones' for UE4.  Other Engines may work best with this option activated.  A bit of trial and error should get you through that part.

Carefully go through the game engine created model/animation directory for what you imported and verify each new file to make sure they should be there, delete whatever mistakes happen from the transfer process.

If you happen to be using UE4, there is a video playlist published by Epic that shows how to handle these things on their end.

More info on the topic can be found using the following keywords:
"Unreal Engine, Youtube, Zak Parrish, Getting Started: Introduction to Blueprint 3rd Person Game Creation"

Here's a link to the playlist

https://www.youtube.com/playlist?list=PLZlv_N0_O1gZS5HylO_368myr-Kg2ZLwb


Re-arranging verticies I am trying to re-create some form of a terrain generation, but in Blender, so it can be rendered out. The terrain is somewhat voxelated which I don't really like, so I am trying to find a way to move the vertices of a block so the overall terrain can be smoother.
Noise gen (I found on Github):
import numpy as np

def interpolant(t):
    return t * t * t * (t * (t * 6 - 15) + 10)

def generate_perlin_noise_2d(
        shape, res, tileable=(False, False), interpolant=interpolant
):

    delta = (res[0] / shape[0], res[1] / shape[1])
    d = (shape[0] // res[0], shape[1] // res[1])
    grid = np.mgrid[0:res[0]:delta[0], 0:res[1]:delta[1]] \
               .transpose(1, 2, 0) % 1
    # Gradients
    angles = 2 * np.pi * np.random.rand(res[0] + 1, res[1] + 1)
    gradients = np.dstack((np.cos(angles), np.sin(angles)))
    if tileable[0]:
        gradients[-1, :] = gradients[0, :]
    if tileable[1]:
        gradients[:, -1] = gradients[:, 0]
    gradients = gradients.repeat(d[0], 0).repeat(d[1], 1)
    g00 = gradients[:-d[0], :-d[1]]
    g10 = gradients[d[0]:, :-d[1]]
    g01 = gradients[:-d[0], d[1]:]
    g11 = gradients[d[0]:, d[1]:]
    # Ramps
    n00 = np.sum(np.dstack((grid[:, :, 0], grid[:, :, 1])) * g00, 2)
    n10 = np.sum(np.dstack((grid[:, :, 0] - 1, grid[:, :, 1])) * g10, 2)
    n01 = np.sum(np.dstack((grid[:, :, 0], grid[:, :, 1] - 1)) * g01, 2)
    n11 = np.sum(np.dstack((grid[:, :, 0] - 1, grid[:, :, 1] - 1)) * g11, 2)
    # Interpolation
    t = interpolant(grid)
    n0 = n00 * (1 - t[:, :, 0]) + t[:, :, 0] * n10
    n1 = n01 * (1 - t[:, :, 0]) + t[:, :, 0] * n11
    return np.sqrt(2) * ((1 - t[:, :, 1]) * n0 + t[:, :, 1] * n1)

def generate_fractal_noise_2d(
        shape, res, octaves=1, persistence=0.5,
        lacunarity=2, tileable=(False, False),
        interpolant=interpolant
):
    noise = np.zeros(shape)
    frequency = 1
    amplitude = 1
    for _ in range(octaves):
        noise += amplitude * generate_perlin_noise_2d(
            shape, (frequency * res[0], frequency * res[1]), tileable, interpolant
        )
        frequency *= lacunarity
        amplitude *= persistence
    return noise

Terrain creator:
p = generate_fractal_noise_2d((256, 256), (8, 8), 5)

import bpy

file_loc = 'file/dir/object.obj'
for x in range(20):
    for y in range(20):
        h = p[x][y]
        if x < 1 and y < 1:
            imported_object = bpy.ops.import_scene.obj(filepath=file_loc)
        else:
            bpy.ops.object.duplicate()
        block = bpy.context.selected_objects[0]
        block.location = (x*2,y*2,h*10)
        print('Imported name: ', block.name, x, y)
```

Displace a grid.

By nature  moving an imported obj by the noise result is going to look voxelated.
Could instead simply displace the matching z coordinates of a grid by the noise. (Akin to using as a displacement texture)
import numpy as np
import bpy

def interpolant(t):
    return t * t * t * (t * (t * 6 - 15) + 10)

def generate_perlin_noise_2d(
        shape, res, tileable=(False, False), interpolant=interpolant
):

    delta = (res[0] / shape[0], res[1] / shape[1])
    d = (shape[0] // res[0], shape[1] // res[1])
    grid = np.mgrid[0:res[0]:delta[0], 0:res[1]:delta[1]] \
               .transpose(1, 2, 0) % 1
    # Gradients
    angles = 2 * np.pi * np.random.rand(res[0] + 1, res[1] + 1)
    gradients = np.dstack((np.cos(angles), np.sin(angles)))
    if tileable[0]:
        gradients[-1, :] = gradients[0, :]
    if tileable[1]:
        gradients[:, -1] = gradients[:, 0]
    gradients = gradients.repeat(d[0], 0).repeat(d[1], 1)
    g00 = gradients[:-d[0], :-d[1]]
    g10 = gradients[d[0]:, :-d[1]]
    g01 = gradients[:-d[0], d[1]:]
    g11 = gradients[d[0]:, d[1]:]
    # Ramps
    n00 = np.sum(np.dstack((grid[:, :, 0], grid[:, :, 1])) * g00, 2)
    n10 = np.sum(np.dstack((grid[:, :, 0] - 1, grid[:, :, 1])) * g10, 2)
    n01 = np.sum(np.dstack((grid[:, :, 0], grid[:, :, 1] - 1)) * g01, 2)
    n11 = np.sum(np.dstack((grid[:, :, 0] - 1, grid[:, :, 1] - 1)) * g11, 2)
    # Interpolation
    t = interpolant(grid)
    n0 = n00 * (1 - t[:, :, 0]) + t[:, :, 0] * n10
    n1 = n01 * (1 - t[:, :, 0]) + t[:, :, 0] * n11
    return np.sqrt(2) * ((1 - t[:, :, 1]) * n0 + t[:, :, 1] * n1)

def generate_fractal_noise_2d(
        shape, res, octaves=1, persistence=0.5,
        lacunarity=2, tileable=(False, False),
        interpolant=interpolant
):
    noise = np.zeros(shape)
    frequency = 1
    amplitude = 1
    for _ in range(octaves):
        noise += amplitude * generate_perlin_noise_2d(
            shape, (frequency * res[0], frequency * res[1]), tileable, interpolant
        )
        frequency *= lacunarity
        amplitude *= persistence
    return noise
# lightweight test
#p = generate_fractal_noise_2d((16, 16), (2,  2), 3)
p = generate_fractal_noise_2d((256, 256), (8, 8), 5)
print("-" * 33)
i, j = p.shape
scale = 0.5

bpy.ops.mesh.primitive_grid_add(
        x_subdivisions=i,
        y_subdivisions=j,
        size=10,
        )

grid = bpy.context.object

for v in grid.data.vertices:
    v.co.z = scale * p[v.index // i][v.index % j]

Please note, have used a loop by way of example, in a rush (off to the vet)  and will get back
Far quicker to  use
grid.data.vertices.foreach_set("co", flat_array)

and set with  a ravelled list of coordinates
[x0, y0, z0, x1, y1, z1, ....]

eg making x and y with linspace or meshgrid, then slicing in z as shown in https://blender.stackexchange.com/a/172973/15543 is according to stackoverflow link quickest way to ravel.
Note blender has a perlin noise generator as well, will also try and find link re this.


why fit curve not working I have a mesh with good verts. I want to fit it to the curve. I have set all the parameters. I dont want to have array and adjust the curve. Whats missing why its not taking the turn and making copies.

Any suggestion or help. Thanks

You say you want copies but you say you don't want arrays, which is a bit contradictory... Let say that you want the object to be duplicated all around the curve.

First make sure the origin of your circle is at its center (Origin To Geometry) and put your object at the same point.

If you want the object to be duplicated around the curve, you need to give it a Curve modifier. The Array can only duplicate on an axis. The Fit Curve option alone won't allow the object to turn around the curve, it will just allow your array to have the same length as the curve. Also, if you need the duplication to happen you need to enable either Constant or Relative Offset. Let's choose Relative. Also enable Merge and First Last.

Now give your object a Curve modifier so that it follow the curve shape. If the object is not well oriented, rotate it 180° on the right axis.

Now you can see that it's not necessarily the result you were expected (?), there's no merging between the copies because of its initial shape (it's already bent), and the object overlaps itself because the Fit Curve produces enough copies to be able fit the curve and in that case the curve is a little bit too small to make the first and last copies merge, you can scale it up if you want first and last to stick.

So you probably need to change your object or choose another method.

For the same operation you could also use a Simple Deform modifier (Bend mode) instead of a Curve modifier.

And if you didn't want copies, don't use the Array modifier, just the Curve or the Simple Deform.


anybody scripting skilled how to restrict frame range for multiple F-curves at once? I have lots of f-curves (~100) cycle modifier applied to and I want to restrict same frame range for all of them simultaneously. how would the simple script looks like to do the action? it's pain to restrict same frame range for all curves manually. thank u guys in advance!

here it is working just fine:

import bpy

def mission1(obj):
if obj.animation_data is None or obj.animation_data.action is None:
    return

action = obj.animation_data.action

for fc in action.fcurves:
    print(fc.data_path)
    for mod in fc.modifiers:
        if mod.type == 'CYCLES':
            mod.frame_end = 303
        mod.use_restricted_range = True

for obj in bpy.context.selected_objects:
mission1(obj)


Connect points of motion tracks with (smoothed) lines I am tracking motions with blender, and adding motion trails to tracked objects. With hq slow motion footage, just attaching an empty vert with a particle effect to my track works very well. However, when the frame rate is not very high, the tracker will be quite far apart frame to frame and I end up with what looks like a dotted line because the emitter jumps from one tracker location to the next. I would like to bridge the gap either with more particles or just a line.
How can I distribute more particles between the current and previous/next tracker location? Maybe I have to convert the track into a path or a line (I can't figure out how)? Basically what i want to achieve is a smooth gap-less motion trail even when the tracked object moves quite a bit between frames. Grateful for any advice, thank you.

Tracking information creates a constraint.

To convert constraints into keyframes, open the constraint section of the properties window and press Constraint to f-Curve

The tracking information will be converted to keyframes, the curves for those keyframes can be displayed and manipulated on the Graph Editor.

There are a few built in tools to clean up curves in the key menu of the Graph Editor.

Here's the same motion path after applying the "Clean Keyframes" function:


How do I animate a Vertex Paint Brush? Is this a bug? I'm trying to animate a vertex weight paint brush (a torus object), but the animation behavior, when I keyframe the scale, is different from the viewport behavior. Here are a couple gifs illustrating the problem:

Viewport:

Keyframed:

Does anyone know how I can "fix" this and obtain the same behavior when I keyframe this scaling animation?

By configuring the "fade" setting (in the surface object), it's possible to obtain the same effect, or something close to it.


Why is my mesh highlighting the geometry? Firstly, I apologize if this has been asked. I tried to search but I wasn’t even sure what terminology to use to describe what’s happening to my models. But I’ve modeled a drum clip for an assault rifle but some of the mesh is highlighting each individual polygon, here’s what I mean:

See how it kind of looks like a circular pattern and then again on the rounded sides you can see the individual geometry? What’s causing that and how can I remedy it? Thank you in advance for your help.

Here's what it looks like in edit mode:

Try enabling Auto Smooth.

Select the object to be smoothed in the 3D View then access Object Data properties. Scroll down to/find the Normals options (click the ► arrow to expand) and click the checkbox marked Auto Smooth

Hope that helps.


Blender How can I extrude a cylinder outward I am trying to make a bullet casing. Here is an image of what I am trying to make.

If you have a look at the shell, not the bullet, you will see that it is a cone and it has an angle that goes outwards. The cylinder is extruded outwards. How can I make my cylinder extrude outwards with an angle, not just a flat outward extrusion? Thanks.

This is a great case for spin modeling. There are two way to do this, you can use the screw modifier (I prefer this way); or you can use the spin tool in edit mode.
I will just describe the process to use the modifier, the modeling it exactly the same for either method; however using the spin tool is destructive (and a little harder to set up).

Start by creating the outline of the shape. This could be done using curves or a mesh object. I used a mesh object, and just extruded a few vertices to make half the shape. Take note of where the object origin is, the origin (highlighted in red) is where the modifier, by default, spins around.

All that is left to do is add the modifier. The default values work very well, provided you modeled the object around the Z axis. The only setting you need to be sure to turn on is Calc Order. That setting makes the normals consistent (sometimes you will then need to then check Flip because they will be backwards).


Blender 2.8 Moving Vertices With G + X, Y, or Z Generates Odd Angles I started working on a low poly model today and have run into trouble with the move tool. Normally, I press g + x, y, or z, and then the vertices snap to the axis I chose. However, for some reason now whenever I press g and one of the three axes, it no longer snaps to the axis I chose but rather some odd diagonal. I'm extremely new to blender so any help is much appreciated.

it is because you've set your transform orientations to Normals. Try settings it back to global. That should fix it


Can you email a blender model from one device and open it on another? I created a chair model in blender on my MacBook Pro in hopes of using it on unity, which is the VR development software. My unity though is downloaded onto another device and I want to send my model over to that device, via email, or any other way so that I can import it into unity.

I can't see why you wouldn't be able to do that. There might be small problems, but nothing major.


manipulating in the viewport has suddenly become quite impossible I suddenly started to get the following error message: 'your system does not use 3D hardware accelation. Blender requires a graphic driver with OpenGL 2.1 support'. So I searched the internet and installed opengl32.dll. Blender is now opening again, but I'm hardly able to manipulate in the viewport. Blender is very slow to respond whenever I zoom or rotate in the viewport. Does anybody know a solution?

This really sounds like a driver issue. Maybe something got corrupted or deleted (it can happen that an antivirus, for example, deletes a critical component of a driver). You see, OpenGL usually is part of the GFX driver package for any graphics card because OpenGL is hardware-dependent and is integrated by the GFX card's maker. Just putting the file in there is not a solution--you're doing the equivalent of driving a car with a wheel missing.

For this reason, I recommend that you reinstall the current version or install the newest version of your graphics drivers. If you already have the newest, either try reinstalling or roll back to an older version if that is the cause (most likely it's not).

If you have an AMD card, download drivers here: https://www.amd.com/en/support

If you have an NVIDIA card, download drivers here: https://www.nvidia.com/Download/index.aspx

If this doesn't work, you may need to uninstall the drivers first (to avoid left-over files from conflicting with the new ones). Otherwise, an update should suffice.


Can someone help me understand how this was done with the armature? I'm trying to replicate the walk animation in the save file I've uploaded, and I've noticed that none of the deform (red) or helper (blue) bones have been keyframed, only the controller (green) bones. However, when I try to do it this way, I can't. Not without keyframing the blue helper bones. For example: I set my keyframes for the fingers at the start (frame 0) to frame 8, and then move the fingers using the helper bones from 8 to 16. When I keyframe them though, the fingers stay in that position, even if I scrub back to the start.

Does anyone know how the animator could have got that to work without keyframing the helper bones?

Thanks

I try to understand your problem. If you're talking about, let say, the left index finger controller, you can see on the N panel that its location and the X and Z scales are locked: Actually he uses both Y SCALE and ROTATION to make the finger bend, so its movement completely depend on these constraints. If you want this finger to do something else you need to free it from these constraints on the particular frame, or all along the timeline. I personally find it a bit complicated but maybe he has good reasons to rig this way.


Make plan that has vertex that match the grid I am sorry if this has been asked before, but I couldn't find it. I want to be able to add a plane, and have that plan create a vertex at each grid point as I extrude it.

When you first add a plane you get a 2x2 plane. (2x2 relevant to the grid). I want to be able to select one edge of this plane and extrude it (or just drag it) to make it bigger, but as I drag it, I want it to make vertex that match the grid so that I can select any square I want to extrude it further.

This seems like it should be a pretty standard feature, but I can't find how to do it. I ask because I am following this guys video tutorial and it appears that he does it, but he doesn't explain how. I assume he hit a keyboard shortcut. Watch how after the extrudes it a little, he can immediately select points along the edges to extrude futher. Then he does something and seems to make the whole thing red, and it shows all the squares that make up the plane and you can see its vertices. How do you do this?

Thanks!

I think I figured it out. When he does the first 2 extrusions, the only way I was able to do the same was to select the 2 vertices, then hit "e", but left click before dragging. This seems to make it an edge or a cut or something. After that, leaving whatever was already selected, selected, I hit "e" again and then drag it out. I did that on both sides.

This left the vertices that he clicks on the side. However, here you had to do the same thing. Hit "e", left click to finalize the extrusion, then hit "e" again and then drag it out. This allowed it to come out at 90 degree angles. Otherwise it kept it all connected.

After that, he went to object mode, hit "a", then w->s to subdivide it into equal squares.

Thanks for the help.


How to find and identify keyboard shortcuts? What is the best way to more easily identify keyboard shortcuts, specifically for the video editing capabilities?

For example, a set of keyboard stickers.

In User Preferences, (menu entry Edit> Preferences> Keymap) you'll see an exhaustive list of the currently set keyboard shortcuts.
There is also a handy search bar in there to search through them. You can search by name (default) or change it to search by key binding by clicking on the little dropdown to the left of the search bar.
You can find more info about it at the Blender Manual.


How do you optimize Blender/mesh for sculpting with multiresolution modifier? When I sculpt using Multirezolution modifier I use the following tricks:

I start with a base model which has 1000-5000 vertices
For each subdivision level I try to finish all work which can be done there
I only do fine details when I reach multimillion faces level
If things are too slow -- I make a copy of my model, move it to different layer,
apply Multires, sculpt, and then reapply my changes using 'Reshape' button of Multirez modifier

Can you advise on other settings to make Multirez perform faster?

I would like to clarify -- there are situations where Dyntopo is not a right choice: for example after you done with exploratory sculpting, went through retopology, created UV maps, and reintroduced details level lost during retopology.

Edit: This post was made when the referenced tools were still considered experimental and not a part of the official builds.  Now these tools and more are available from official builds.

There is a new option for adding fine detail but it is not fully in trunk yet.  You would have to grab the GSOC Paint build from Graphicall.org.

Psy-f's build has curve and line tools that work as precision stroke brushes.  Maybe that definition is not exactly correct but it's close enough I think. They work in sculpt mode as well but this requires extra geometry which is going to slow you down.

The idea here is to attach a 32 bit texture map(currently available) to your models UV's and then use that as a bump map. As is, this will not create real geometry but instead will create the illusion of extra detail which can be baked as a normal map.  This seems to me to be the ideal situation for smaller detail since anyone would be hard pressed to tell the difference between real displacement and normal maps when it comes to the small scale that you are hoping to work with.  This technique will also dramatically decrease your render times and the possibility of your computer locking up.

If, however, you insist on using true displacement then you can use this bump map in combination with the displacement modifier at a later stage.  This will allow you to work with a lower poly model during the sculpt/modelling process and then you can crank up the multi-res detail in combination with a displacement modifier when it's time to render.

Even still, without the most excellent curve and line tools you can still paint bump maps but it's much harder to get the precision that these new brush tools provide.


Front Mesh making back mesh impossible to see, help? I'm modeling a 3d figure from a set of 2d images.  I have most of the front done using a background image as a reference and using the mirror modifier.  I used a right side reference image to do the sides.  Now that I'm working my way to the back of the figure, the front and side mesh are confusing the new mesh i'm making for the back. I tried hitting 'z' to show the faces, but then I can't see my reference image.  There has to be a trick to do this.  Can anyone help?

Thanks,

Matt

You can hide the vertices you don't want to see. Just select the ones you want to hide and press H.

Also, the reference image will only show when you're aligned with an axis and in orthographic mode—hit 1, 3, 5, or 7 on the numpad to align the view, and then 5 to go into orthographic mode.*

*The manual says that orthographic mode is the default in Blender, but it's not.


Grass High Polly to low poly for Unreal Engine? i have question aboud create grass.
Now i have high poly model like this :

How Can I do this in blender :

I am afraid there is no easy method for that. Your vegetation is a real and detailed 3D model while the example below uses the efficient billboard technique - each model consists of several polygons textured by semi-transparent images / photos.
Because both approaches are really different, you cannot simply get the second one by reducing the mesh detail or any other automatic method.

If you want to use your 3D vegetation to create a billboard one, you can render you 3D vegetation from different angles to png textures (with the transparency). Then create simple models for each flower / grass cluster etc (like in the example) and apply png textures you have rendered on them.


Weight mirroring fails with a error Before I continue, I probably should mention that I already have tried copying vertex groups and mirroring there and also mirroring through the weight tools (I believe it's the same thing, but still), have X Mirror option enabled as well (yet it looks like it ignores it for some reason). The model is centered in the scene, everything looks fine, vertex groups names should be fine as well. No idea what's going on there, but whenever I try to copy one vertex group to another Blender hiccups and shows a error, that says: 0 vertices mirrored, 228354 failed.

Here's the file with the problematic mesh: https://drive.google.com/open?id=0B73O5HTSV-kHZ0hldVJ6RDdYMGM

So, as you can tell that last rigging part basically now has killed the whole work I did there. Thanks in advance, kind people, I really hope that some Blender veteran knows what's going on.

The solution for me was to switch to edit mode Tab, select all vertices A, and apply (Snap to Symmetry).


If I combine two objects by pressing Control + J, one side becomes strange If I select two objects at the same time and press Control + J,

one side turns strange. Why is this happening?

Here is my .blender file: https://drive.google.com/open?id=1krNaVE55Fo-GmDQxwTKkPm0460x-lxL4

From what I see, you've mirrored one object by scaling it negatively from the other (look at the scale values, one is negative on X while the other is positive). Which under the hood kinds of turns the mesh inside out twice like a sock.
But when you join the two meshes together, you lose the scale value from the joined object, which is replaced by the target object. So you end up with reversed faces.

To fix that, simply enter edit mode, select everything with A and hit Ctrl N to recalculate the normals.

Besides that, if you know you're gonna model mirrored parts, you should use the Mirror Modifier. It's a more efficient tool, on top of being reversible, editable at any time, and gives you more modeling possibilities.

One more thing :
By looking at your object, you can see that they have uneven scales, not equal to 1, as well as some rotations.
It might be intentional, but usually, you want to keep your objects scales equal to 1, or at least even (if uneven, you will have troubles while modeling, texturing and so on). Rotations should be usable ones (90s, 45s, .... are ok, but "-0.000001" are not) unless you do need those.
So you might want to apply those transformations or undo them, depending on your needs. To apply transformations, use Ctrl A menu. To undo transformations, use the shortcuts Alt G/R/S (G for location, R for rotation, S for scale).


My animations don't export correctly for game engines (fbx file) I was making some animations, and when i exported it to unity, this happens YouTube video link

I just fixed it by making only one armature for all objects and when parenting (ctrl+P > bone) i just market "keep transform" and for the transparent gun it is just the unity default material....

sorry for bad english


how to bend a zipper to the contour of a jacket? I would like to bend this zipper with the lowpoly object behind it, then I will apply to the jacket, I need to get clean shape with the zipper and contour.

Here's one way:

With the low poly object selected, go into Edit mode and select an edge loop that runs the length of the object(top to bottom). Press Shift + D then Esc to duplicate the the edge loop. Now press P and choose Selection to make the duplicate edge loop a separate object. Go back to Object mode and select the edge loop object. Press Alt + C and choose Curve from Mesh to make it into a Curve object. Select the zipper and add a Curve modifier to it with the edge loop object as the curve object and Z as the axis. Move the zipper on the Z axis until it fits the curve as you want.


Path Animation Evaluation Time keyframe error I've used Control + P ➔ Follow Path to animate an object along a path, and now I want to keyframe when the animation should start and end, but when I try to set a keyframe for the Evaluation Time value in the Curve Object Data panel, I get an error like in the screenshot.

What am I doing wrong? Or is there a different way of setting the start and end frame of the Follow Path animation?

Thanks for your help.

I guess you have automatically generated an animation and you need to delete if before creating any keyframe on the Evaluation Time value:

Select your bezier curve.
Open the Graph Editor.
Unfold BezierCurve on the left to select the Evaluation Time track.
Press N to display the Graph Editor properties panel on the right.
Press the Modifiers tab.
Delete the Generator modifier.


How do I make it so each shape is colored a different color/shade? I am attempting to use a pattern image, however, I wish for each shape to have a different color, without it having the same color every time it is repeated. I turned the image into a mask, and fed it into the mix RGB. What could be the next step?

You cannot apply a colour to each shape because Blender has no concept of what "Shape" means in your context. If the shapes were of a set size and offset from each other, you would be able to make a mathematically accurate base layer of colour and mix that into the material matching the locations of the shapes.

But try the following and see if it gets you further in the direction you wanted to go.

Create a UV for your mesh (Unwrap) and pipe the colour from the Image Texture into a ColorRamp node that can isolate the two colours (you already did this) and gives us the mask.

Now create a new Texture. Here I use a quick and dirty Noise Texture but you could use almost any Texture to give you a base colour layer. You could also create an image for this purpose (*).

This can now be Mixed in with the Mask as the Factor.

And finally we Mix the initial texture back into the final result.

The result is imperfect, but you can tweak the Texture to try and better match the locations of the shapes.

(*) This not as silly as it sounds. You could create an image with a very low resolution e.g. 8x8 pixels and use that grid of coloured pixels as the backing colour layer.

And as always with Blender you could use Python to code a solution with shape detection, but I cannot help with that.


Shadows on alpha channel PNG's and eevee I am playing with the eevee render, and I am struggling on how to render projected shadows from objects textured with alpha channel.

Here is a reference render on cycles on what I want to achieve.

And here is my result on Eevee

My texture is pretty simple.

And I have turned on the shadow checkboxes on both the light panel

And my render panel

I am using the 2.80 A build from 2018-11-23

Can this type of shadows be rendered at all?

You have to change some of the material's options :

It works for me with Blend mode to alpha blend, and transparent shadow to clip.


Getting a grey image when rendering When rendering, I only get a grey image.

Download files

The clip distance on your camera is set to a very small range.

Enable display limits so that you can visualize the clipping range.

Then increase the range so that the camera can see your objects


How to make a tape measure for exact measurements? I am making an instruction video for burn victims, so that I can make their made to measure recovery garments in the exact size. I have made my person model, but now I need to show the area where the tape measure should be placed, to take the exact measurement, circumference etc. how can I do this? could I make a tape measure or just a line maybe…does any one please have a suggestion. I am new at this and am just learning…. please help…thank you so much

First, two assumptions. One is that I assume your person model is made in compliance with the usual norms as far as topology and geometry of the model. The other is that the "exact measurements" to which you refer to in the title of your question relates to the exact measurements made and communicated to you, and not necessarily to obtaining exact measurements in the model. That written, here's what I would do.

Make a duplicate of your person model and move it to a different layer.
Figure out where on the model you will need to show the measurements, likely including (but not limited to) the neck, the chest, the upper and lower arms, the waist, the hips, and upper and lower legs.
At each point where you have identified a location where you need a measurement, define a contrasting material to any that might already be present on your real person model, and make two loop cuts around the duplicate person model in that location. Space those two loop cuts you just made to be about an inch apart, or so (relative to the model), and assign the new material to the areas between the two loopcuts.
When all of the areas where you need measurements have been marked, in the material context button of the object properties window, in edit mode, choose "select" to select all of the loop cuts with the material you need, then in the select menu in the 3D viewport header, choose "inverse selection". Now delete everything from the duplicate model that is not a location of a measurement you need.
Switch the pivot point to "median point", and scale each of the locations of the tape up by about 2 percent, constraining the scale directions so as not to change the scale of the tape in the direction perpendicular to the tape. Do not change the locations of any of your measurement lines.
Move the tape lines from the layer you moved them to in step one, back to the layer where the person model is to be found.

If you choose, before doing step 6, you can make a more accurate and detailed representation of the ends of your tape measure