text:
Are there any tutorials on where I can model low poly hair like this?

Just have been having the hardest time trying to model hair, and cant find any tutorials for low poly hair like this.

Hello and welcome. Asking for tutorials, links or videos is considered off topic here. Instead of asking an indirect question, could you reformulate your post to directly  ask about the issue you are trying to solve, rather than point you to some resource?

You could try this:

Create a UV sphere (here 16/8 vertices), cut it off, extrude the faces to give it thickness:

Pull down the edges to create hair peaks:

Scale 1 out of 2 edges:

maybe triangulate the topology with CtrlT or try the Decimate modifier:

holy shit thank u so much

Hello and welcome. This site is not a regular forum, the answer section is reserved exclusively for answering the OP question. Please don't reply "Thanks" as an answer or comment, instead upvote the post that helped you. If you feel it completely solved your issue consider marking it as accepted.

how do you extrude all the faces like that? do u extrude from the inside or outside? @moonboots

yes select all, Alt E and extrude along normals for example


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Object not spinning in place when using Z rotation
So I had a bunch of meshes to make a low poly character that I joined all using Ctrl+J but when I rotate the single mesh on the z axis its spins in a circle instead of just spinning in place.

Your object's origin is not at its center. To fix this:
Click that object and then click
Object > Set Origin > Origin to Center Of Mass (Surface)

source: Stack Exchange

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

sort: votes


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Need hair particles to only be on the vertex group, but still sticking out all throughout the mesh
I'm trying to make low poly hair and need the hair particles to only stick out of the top of my mesh on the vertex group I made

Did you assign the vertices to the group?  It doesn't automatically assign the selection when you create a group.

Yes I did @AllenSimpson I'm 99% sure I did at least that's just where I select which faces and then hit "assign" on the vertex groups tab correct?

If you are emitting particles from faces:

When you limit it with a vertex group the behavior is to emit particles from every face associated with those vertices.  This means a selection like this:

Emits from every face but the bottom ones.

You can perhaps work around this with reduced selection or creative additional geometry.

all_licenses: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


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Pose mode moving hair despite not having any weight painted on it?
So ive had this issue before and last time I just had to apply location but its not fixing it this time. Im pretty sure theres no weight painted on the hair so why is it still moving with the arm bones?

The vertex in my example has some weight on hand.R and thumb.L, so it moves when arms are moved.


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How do I make my water see-through completely?
enter image description here

I have some water I made and need it to be see through so you can see the bottom of the "pool" here are the settings I have and I would like it to look like the image above^

A naive beginner's guess - Alpha level, could it be?


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Object disappearing when rendering in cycles / rendered preview
So I tried flipping normals and made sure there is no z clipping going on. But this object just doesn't render for some reason.

Hello maybe you've enabled the Holdout option in the Object panel > Visibility? If it's not your problem, please share your file (at least some of its objects)


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How to get rid of this poles?

How do i get rid of this pole? I tried to redirect edge flow using the knife but it distorts the curved surface. Is there a way around this?

This is the shape I'm trying to model.

why do you want to get rid of it?

@moonboots I just want to avoid this pinching https://i.imgur.com/GObewuR.png

I've used a topology similar to yours and it seems to work fine with almost no artifacts. I just used and applied a Shrinkwrap modifier with a cylinder of the same radius as Target in order to correct the topology a bit and make it stick to a nice cylinder shape:

Shrinkwrap did the trick. Now it's perfect :D thank you
https://i.imgur.com/FCoYzNL.png


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How to create wireframe fade off effect like this?

Can this be done with freestyle lines alone? or do I have to render separate layers and do it in the compositor?

Various aspects of a Freestyle Line Style can be given modifiers, including the Alpha of the stroke.
The modifiers available to Alpha include Distance From Object. (In this example, the blue empty):

Which, with settings like this:

Can get a result like this:

Original way to do it! Thanks Mister Best ; )

This is what I was looking for. Thank you :)

Duplicate the object.

On the duplicated object, add Wireframe Modifier.

Assign Vertex Groups and select it in the Wireframe Modifier. Which allows you to control the weight of wireframe and create the fading effect. Please refer to Blender Manual for the sample image.

In case of still image, I believe doing it in post-production would be much easier and efficient.


text:
I don't want to have any boundaries when editing the uv
I used separate node to put eye image in the red part.
I used separate node to put eyebrows in the green area.
In the uv map, there's no boundary between the two.
If you look at the complete version, there are boundaries.
How can there be no boundary?

There's an orange border between the black ones.

There's no boundaries on the uv.
this is my file.

There is a slight amount of interpolation between black and white in the axis vectors you are using as your mix factor(s). Adding some ColorRamps set to constant with a rather tight cutoff (see the white value) to your mix factors seems to get rid of it:

thank you very much it works


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Animate transparency of entire layer
Blender noob here. I'm learning my way around but could use some assistance. I'm working on a project having to do with human anatomy. I have a 3D model complete with skin, skeleton, muscles, organs and so on. Each of those are on a separate layer. I am trying to animate the transparency of the muscles however that layer is made up of several meshes/textures and I can't figure out how to simply fade them on screen. I have already done something similar with the skin layer but that is all one mesh. What's the easiest way to do this? Just so it's clear, I have my transparency set to about 20% on the skin to show the organs. See below
I then want to fade the muscle group on so it looks like this.

Is there a way to add keyframes to entire layer? I'd appreciate any help. Thanks!

I am not animation expert but I think what you want to do is... make your separate completed renders for organs, muscles, and then skin. then, in the compositor, create your fade-in animation from one completed render image to the next by using the alpha-over node. This example probably explains it better than I can - https://docs.blender.org/manual/en/dev/compositing/types/color/alpha_over.html


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Do I need low poly model assets for videogames - enviroment or "world"
I have a question about the creation of assets for video games.
Usually for the game objects a high poly model is prepared, to then transfer the details on a low poly model, so that it can be rendered in real time. Is it a work that is always done with any object? the polygonal models of the characters in general imagine yes but the rest? I refer to the environment, the structures, vehicles etc. from various videos released by some studios you can see the low in engine models, so I guess so.
I was especially interested in the environment, a snowy mountain for example. I do not think you do this reasoning even in this case, after all change the game environment seems fast enough with the most popular engines. I could not elaborate on it, could you help me?
thanks in advance and sorry for my english, I do not know if I was clear xD

I think this question might be better suited for a different stackexchange, maybe https://gamedev.stackexchange.com/

You might also want to research "Level of Detail" in regards to rendering


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Problem rigging weight paint
I'm new here and a beginner of blender.
i have a problem with rigging, some parts of my mesh deform. i'm italian so sorry if i speak very badly.
that's the problem:

the back is deforming when i rotate the on the x axis the leg.
the model is only one mesh, i don't know if that can be a problem, the piece of armor on the leg is connected to the back.
sorry for the question or my writing, i'm following a lot of tutorials but i cannot resolve this.
Thanks in advance

There can be several reasons... maybe, in the modifiers panel, put the Armature above the Subsurf, and in the Armature modifier, enable the Preserve Volume option? You can also share your file so that we can see.

also, maybe your mesh needs some additional edge loops, or the weight painting is bad...

So, here is my opinion:

First you need to put the Armature modifier above the Subsurf modifier, and enable the Preserve Volume option.
You should add a little more weight on the butt for the leg, you'll see that it works better when you rotate the leg
Maybe add a hip bone and weight paint to add a little bit more precision in the mesh control?

ok, i'll try! thank u so much! only one question: i'm following a tutorial and the guy deleted the bone from hip and leg. but in it's case that part is covered by a skirt. I have misunderstood

well, you could delete the hip but I think it will give more precision and solve some problems, by the way if you add a hip bone, it's mostly this bone that must influence the butt, give less influence to the leg... anyway, each case is different, you have to make some tests

sorry @moonboots i have another question/problem: to animate it the body must be there in full or the parts covered by the suit can I remove them? I'm having problems because of the lack of body parts I believe. when I move the arm forward, for example, it mixes with the suit.
 both the neck and the arms are not complete because covered, is this a problem? or should I set up differently? legs and sit I solved

if you want to delete any influence of the bone on the mesh you can use Weight Paint or you can go on the Vertex Group list: vertex groups have been created on your mesh when parenting and they are named by your bones name. To remove some parts of the mesh from some bone influence, select these vertices, then select the name of the bone in the Vertex Groups list, then click Remove (or Assign if you want to assign), you can also change the influence ratio below the list. Other functions on the right of the list (available when you click on the down arrow), I don't know if that's useful? Tell me

thanks, I knew I could do that. I try to move the bones of the arm a little to the outside and I see what happens. maybe so I can do it.
but normally the covered body parts can be left as in the screenshot I showed before? I refer to arms and neck

I'm not sure to understand, if Weight Paint or Vertex Groups assignment doesn't fix your problem you can try to change your bone organisation or maybe change the mesh... for example it looks like your arm is not attached to your shoulder, why that? please explain your problem again, and share your file with you want

yes, attach the shoulders to the torso and attach the arms to the shoulders! Rigging is complicated and can take a lot of time. The forearm/wrist is particularly tricky, you need to segment the forearm and add a Copy Rotation with the hand as target, so that the wrist rotate smoothly, also in Pose mode there's an Inverse Kinematics in the Bone menu that allows to constrain the arms movements and that's very helpful, it took me time to realize

copy rotation forearm/hand like this? https://image.ibb.co/dDqjcT/rotation_forearm_arm.png

yes, it will allow your forearm to follow the rotation of your hand, but the Space should be in Local Space > Local Space - and by the way, your forearm should also have an Inverse Kinematics constraint

it's already local space > local space. now i search about the inverse kinematics constraint xD I have already done damage going to guess

Oh sorry I meant it should be Pose Space > Pose Space, but make some tries...

however before you told me about segment the forearm and add a copyrotation, i did the second (add copy rotation) but i dind't segment the forearm. now i'm looking a tutorial where the guy segment the forearm... it's okay how i did it or not? xD also can i add the IKc after the model doesn't deform in the pose mode? I would like to fix that first. for now i completed and fixed the hands, i think now they are fne. instead the forearm moves much when i roteate the hand doh..this the file if u have time http://www.mediafire.com/file/n80xk337rk7yz0f/rifatto%20arma.blend what u think?

hello, it's hard to help, the rotation constraint of your armature is indeed what I meant but your armature lacks a lot of many things like controllers and pole targets, you should check blender character rigging on youtube, you'll find a lot of tutorials, none of them are really complete on this topic, but some are good, and if you try a lot of them, it will help you to understand the process and make your own idea about how to do it efficiently. Dig into it and come back later to ask me some questions... I'm going to share an armature that I consider as advanced in few hours if you want

if you can share it I would be useful, at least I get an idea.
at this point I end up seeing the tutorial I had started trying to figure out what's wrong

I think this one is rather correct, didn't put the face bones though, it's a basic one, feel free to ask me question if you need: http://pasteall.org/blend/index.php?id=49921

why the legs and arms doesn't move?  I can not move them forward.

because they have an IK constraint, you have to use their controllers to make them move, example, the bone called IK_hand_L

ok. can you sugest me a video tutorial or other where you learn this?

I've learnt through several tutorials, because not one was enough to understand, so type "rigging character blender" in Youtube, then try several, take notes, try your own armature without tutorial, then come back to tutorials, etc. It's not as complicated as it seems, you just need to understand some principles like IK bones, and some tricks to fix some problems like the twist of the wrist, etc... if you have some questions, ask me!

ok the last question then review when I "finished" xD all this should then be added in unity to make the demo of a video game. I know it's stupid to ask this, but am I proceeding in the right direction you know? I would not find myself doing things (even if I think they are necessary) useless to reach that goal

I guess yes, you have to rig the character as best as you can to make the animations you need, so you need to learn rigging. I don't know Unity though...

thx. I'm doing everything over again and I have another problem, when I'm in poses mode and rotates certain bones, the mesh moves very little. yet I redid everything the same, I just added more mesh deformer and I did not remove the bones as you advised me. what's wrong? .. http://www.mediafire.com/file/jsgig1jv0dxgd6a/armatura++prova+4.blend

hello, yes that's weird, I'm going to try to find what's wrong, anyway you can deparent the object, then parent again and it works (maybe it needs some adjustments though)

by the way, for all the bones that are not supposed to have any weight (for example targets, pole targets, root bone, etc.), think about declicking the Deform option in the Properties > Bone menu, before you parent the object to the armature

if you reparent it, it works, so the interesting thing should be to know how you first parented it, because I don't know what's happening

oh you've created a vertex group called Armature, if you delete it everything works, so I'll try to find out how it was playing on the armature...

i changed the parent type object of the character from object to armature. now it works. I did not remember doing it before https://image.ibb.co/faNdRo/armatura_prova_4.png

ok there must has been a conflict

In the armature I've sent you, I've just realized, in Properties > Bone > Inverse Kinematics, that the Rotation is off for the Y axis, so you should switch it on and limit its amount of degrees (for example -90° / 90°) so that you allow your wrist to move the forearm (or the Copy Rotation of the forearm would be useless)


text:
Texturing various questions questions - Cycles
I was wondering various things while I was following several tutorials on the topic, which in the tutorial (timelapse unfortunately) I can not understand or even from my render.
1. In the picture I textured the wooden planks but they are two different parts (I have highlighted them below), but there is that ugly effect because the textures do not match. Does this defect have a name? I think so but I do not remember ... more to have to fix it not only there but for the whole structure it takes a lot of time, can I do that or I'm doing something wrong? I was thinking of removing the various vertical edges that divide the wooden boards, but some polygons would remain with 5 vertices ...
2. to make the brick wall I did various tests, in the photo is just a flat wall with the texture above, but I had tried with various combos (subsS + decimate + same texture in black and white) and gave a nice effect but I was going to fill the structure with too many faces / polygons. do you usually do that or can you use some trick?
3. Finally, I noticed that after having texturized an object if it is already texturized, with knots and applied materials, it is advisable to save time creating the different assets (in my case it is a mediaeval house full of wooden beams) ) and repeat them to save time?
thank you and sorry if I have dwelt, if I have not explained well please tell me.

1) The term you are thinking of is "texture seam". Generally, if you have one flat side of an object, you would try to unwrap and texture it to avoid seams. it might be that the texture you are using isn't suited to what you have.
2) I quite favor using micro-displacement for close-up images that require a lot of detail. However, if you are not going to be quite close to your object, it is possibly better for you to use normal/bump mapping. It is far less computer intensive than displacement/subdivision.
3) Yes, you can reuse assets and textures. Taking your wooden beam example, you might find that creating only three different beams, and using these in your scene gives enough variation. There is a trade-off between saving time/effort and avoiding repetitive items and textures.

thanks, I'm building various objects that I would then like to try in a motor (ue4 or unity) so I should have a good amount of detail.

You are welcome. If your assets are destined for a real-time engine, definitely make use of normal/bump maps wherever possible, to keep the poly counts down.


text:
How can I randomly instance and distribute objects from a collection on a mesh using Animation Nodes?
I would like to know couple possible ways of taking objects (couple or all) from a collection randomly and instance on a given mesh. I tried feeding the collection into a loop and repositioning them to the given vert list, which works but that just manipulates my collection items and I cant seem to find a way to create many instances and position them inside a loop.
Thanks
thanks

Using Mesh Point Scatter and Object Instancer node we can scatter objects on the surface of given mesh. Since Object Instancer node cannot be used inside Loop we can't randomize objects. One solution for this problem is by replacing instanced object with other object data(random objects data from collection). For that we can use Copy Object Data node.


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How do I update the cursor matrix in a Python script properly?
I am using the line below to change the cursor location in my  addon script. It works but the change is not shown immediately, I can see the new position if I change the frame.
bpy.context.scene.cursor.matrix = bpy.context.object.matrix_world
I tried this line but it has no affect.
bpy.context.view_layer.update()
How do I force some kind of view update so that the cursor moves to the new location after its matrix is modified?
thanks

Related. https://blender.stackexchange.com/a/165697/15543   consider setting cursor loc & rot with values from decomposed world matrix.

.. the tag redraw method was used there, as noticed setting the matrix does not flag an update.. Another workaround is to set the the rotation mode to itself after setting matrix.  However as mentioned above may as well toggle into quat, set from decompose values, toggle back.


text:
How can I merge objects while maintaining the materials in Sverchok?
Is it possible to merge objects in Sverchok while transferring the materials to the new objects?
Here is  a screenshot that shows the issue. I merged the objects with the material indexes but no materials are on the new object.

I am also attaching the test blend file
blend file

We have not such node yet, and object in function. because was no needs.
Simple per polygon approach is here:
https://gist.github.com/81d278ada5a769c91d0a1fe9351dc53f
But in your particular case we can add index to shift materials, not universal solution:
https://gist.github.com/21a427f325312daa5086e635505430cf


text:
Why does not Animation Nodes provide the uv information properly?
Please see the sample nodes below. You can see that the object clearly has UVs and listed in the uv list however Animation Nodes is telling me that it has no uvs.
Is this a bug? Is there a way to get uvs properly in AN so I can paste it to some instances?

thanks

Load UVs option is hidden by default. You have to enable it.


text:
How do I access grease pencil data?
I would like to be able to extract start and end points of grease pencil line tool, the one used for annotations in 2.80.
It would be great if I can get the data in 3d view and 2d screen view in Python.
thanks

Grease Pencil (GP) data structure is like this:
GP-Object --> GP-Layers --> GP-Frames --> GP-Strokes --> GP-Stroke-Points
Now, the python commands to get different GP-data,
#1) To get the GP-Object data
GPObj = bpy.data.objects['GP Object Name'].data

#2) To get the GP-layers, use layer name or index.
GPLyr = GPObj.layers['Layer Name']

#3) To get the GP-Frames, use index. But there are other properties of the layer
#   you can access e.g., opacity, thickness, select, etc. You can add or remove the frame.
GPFrm = GPLyr.frames[0]

#4) To get the GP-strokes, use index. You can add or remove a stroke, change the
#   display-mode, line-width, material index, etc.
GPStk = GPFrm.strokes[0]

#5) To get the GP-points, you can use the index to get individual points.
#   You can add or remove points.
GPPts = GPStk.points

and each point has info about the location, pressure, strength, uv-rotation, etc. With the help of "foreach_get()" function, you can get the location (or pressure, strength, uv-rotation) of all the points.
#6) To get the location of single GP-point
loc = GPPts[0].co

Is it possible to select all GP-strokes in one GPStk obj? I want to get all objects in GPFrm.strokes. not only the first GPFrm.strokes[0]

Use the grease pencil API:
https://docs.blender.org/api/current/bpy.types.GreasePencil.html
Drill down through the layers and frames and strokes to get to the points:
https://docs.blender.org/api/current/bpy.types.GPencilStrokePoints.html

Thanks but I am looking for basic code to crack that. It is a bit of abstract to me now.


text:
How do I pass an argument to an operator that is called inside a panel?
I would like to be able to pass aarguments to operators that I am calling from panels/buttons but I do not know how to do that. At the moment I use "global" variables but they tend to make the code a bit like a puzzle since I need to constantly update them.
See the code below, in that example I would like to pass an argument (like ARG) to "object.simple_operator" when the button is clicked.
import bpy

def DO_SOMETHING(arg):

    print(arg)

return

class SimpleOperator(bpy.types.Operator):
    """Tooltip"""
    bl_idname = "object.simple_operator"
    bl_label = "Simple Object Operator"

    @classmethod
    def poll(cls, context):
        return context.active_object is not None

    def execute(self, context):
        DO_SOMETHING(ARG)
        return {'FINISHED'}

class MyPanel(bpy.types.Panel):

    bl_label = "mypanel"
    bl_idname = "OBJECT_PT_MyPanel"

    def draw(self, context):

        layout = self.layout

        wm = context.window_manager

        obj = context.object

        row = layout.row()
        row.operator('object.simple_operator')

Related https://blender.stackexchange.com/a/17755/15543  Would usually add a property to the operator, lets say it's and int property called x and in layout use layout.operator("some.op").x = 5 to set the property to 5 (akin to bpy.ops.some.op(x=5))  For multiple op = layout.op... op.x = 5 op.string = "XXXX"

General example based on your starting point including a property group setup.
import bpy
from bpy.types import PropertyGroup

class MyToolPropertyGroup(PropertyGroup):
    testint = bpy.props.IntProperty(  # bl 2.80 use testint: bpy.props
        name="testint",
        description="",
        default=1,
        min=1,
        )

def DO_SOMETHING(arg1, arg2):
    print("%i * %f = %f" % (arg1, arg2, (arg1*arg2)))

class SimpleOperator(bpy.types.Operator):
    """Tooltip"""
    bl_idname = "object.simple_operator"
    bl_label = "Simple Object Operator"

    @classmethod
    def poll(cls, context):
        return context.active_object is not None

    def execute(self, context):
        props = context.scene.MyPropertyGroup
        my_val = 2
        DO_SOMETHING(props.testint, my_val)
        return {'FINISHED'}

class MyPanel(bpy.types.Panel):
    bl_space_type = 'VIEW_3D'
    bl_region_type = 'TOOLS'
#    bl_category = "Tab Name"  # not used in blender 2.80
    bl_context = "objectmode"
    bl_label = "mypanel"
    bl_idname = "OBJECT_PT_MyPanel"

    def draw(self, context):
        layout = self.layout
        obj = context.object
        props = context.scene.MyPropertyGroup
        row = layout.row()
        row.prop(props, "testint")
        row = layout.row()
        row.operator('object.simple_operator')

classes = [SimpleOperator, MyPanel, MyToolPropertyGroup, ]

def register():
    for cls in classes:
        bpy.utils.register_class(cls)
    bpy.types.Scene.MyPropertyGroup = bpy.props.PointerProperty(
            type=MyToolPropertyGroup)

def unregister():
    for cls in classes:
        bpy.utils.unregister_class(cls)
    del bpy.types.Scene.MyPropertyGroup

if __name__ == "__main__":
    register()

To avoid mixing up classes and instances It is recommended to use lower case for instances, bpy.types.Scene.my_prop_group = bpy.props.Po...  Wonder if it is not easier to use operator properties direcly

Ok I am having an issue with your recommendation.  props.editorpath=addon_prefs.editorpath
AttributeError: Writing to ID classes in this context is not allowed: Scene, Scene datablock, error setting PropertyGrp.editorpath  , this is what I have         props.editorpath=addon_prefs.editorpath > one props is set with the method you mentioned, addon_prefs as it says comes form the addon's own preferences

why not just define a my_prop of type bpy.prop.<type> inside the operator and then set the value by getting op = row.operator('object.simple_operator') then op.my_prop = value


text:
How to evenly model and distribute notches around a cylinder?
Luke's lightsaber first seemed like an easy one to me but going further down at the grip, it's getting a little difficult.

Moving the face along its normal's z axis somehow gives me the look but it isn't great. Furthermore, I would need to carefully adjust the upper and lower edges and repeat it all over the handle.

This seems very challenging to me and I believe, there's a better way. Any ideas?

You could create this topology (mirrored on X and Z):

Give it an Array modifier, then a Simpled Deform (Bend mode, 360° on Z), a Weld and a Subdivision Surface:

that's very clever, just doing it the other way around


text:
Creating an object from a black and white image
I would like to map the vertices of a shape to the pixel of an image. The mapping result will modify the position on the Z-axis of the vertex.
For example:

the pixel at position X=0, Y=0 is white (255 or 1): so the vertex will be positioned at (0,0,1000)
the pixel at position X=0, Y=1 is gray (128 or 0.5): so the vertex will be positioned at (0,1,500)
the pixel at position X=20, Y=180 is dark (22 or 0.*** ): so the vertex will be positioned at (20,180,***)

Is this possible?
Thank you

I don't think you can do this per-vertex (without using python), but you can do this with a heavily subdivided mesh and a displacement modifier. Is something like this satisfactory?
(Just to explain the image - I used the same texture as both the basis for the Displacement Modifier as well as the Material so the areas that are being "elevated" by their color value are colored accordingly)

I would suggest to do this with a displacement modifier instead and not on a shader, so that you could add a decimate modifer to the stack, to reduce the number of vertices. The subdivision could also be done with a subdivision modifier, in simple mode, as the first modifier on the stack.


text:
How do I add additional bones to a previously made rig and mesh so that I can animate a 3d model's hair?
I made a character and it has been rigged. Her hair doesn't move so I tried adding bones to it and parenting it in edit mode to both the main head  bone and creating a new vertex group for the hair mesh. I am trying to animate the character's hair when she walks. However, nothing I've tried so far has worked. Any ideas? Also if by some miracle I get this to work, must I animate the hair for each one of my animations?

why didn't it work? Also, maybe show some pictures? I guess the solution depends on the style, topology, etc... If it's not a realistic character, the Wiggles Bones addon may help

The bone at the end of the pony tail moves due to the wiggle addon, but the hair mesh and the rest of the bones attached do not move at all. I created the bones by moving a new bone, not originally part of the rig, and placing it at the base of the ponytail. From there, I extruded the bone so that it aligns with the ponytail. I then parented the bone to the main head bone and created a new vertex group so the hair mesh would be attached to the ponytail bones. I'll provide visuals a later today. It should be noted that her ponytail rests on her shoulder.

Here is a video: https://youtu.be/Wbz21wpydrI


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How do I get the fire to show up for the mantaflow fire and smoke effect in Blender 2.92?
after setting up the explosion and smoke on my objects, then baking them, I am not seeing the fire that supposed to be there. The domain is set to gas and the objects are set to fire and smoke. The explosion is working just fine. I tried fixing the shader of the objects that are set to fire and smoke and tendering in both cycles and Evee. Is there something that I am missing?

I tried to get fire effect in cycles using quick effect. So having a circle select object and then quick effect -> quick smoke. Then change to fire. It will only show smoke in cycles. In my case the solution was to select domain Shift+F3 to open shader editor and:

turn up the Blackbody Intensity on the Principled Volume node. 0.5 seem good.

Found on Reddit: https://www.reddit.com/r/blenderhelp/comments/dk8t3g/using_quick_smokefire_smoke_no_fire_is_rendered/f4d75pz?utm_source=share&utm_medium=web2x&context=3

While I'm hardly an expert at mantaflow explosions in blender, I've also noticed that it's pretty hard to get the flames to show up. From what I can tell, the 'flame color' setting in your Smoke Domain's Physics->Fire->Flame Color settings doesn't seem to have any effect at all.
I have had some luck following the simple instructions in this short video. Basically, you select the smoke domain, go into the shader editor, and increase the blackbody intensity. I suspect this is just one way to get the flames to appear as anything other than black, but it's the simplest I've seen so far.

Actually, the Flame Color in the Domain settings seem to be a mistake. It serves the same purpose as the Smoke Color in the Fluid settings. And if you actually hover your mouse over the color field it says "Smoke Color - Color of smoke emitted from burning fuel." What you can do with these settings I describe quite detailed in this answer: More smoke and smoke colour

I was wrong: Flame Color in the domain is different from Smoke Color in the flow object. The Flame Color setting only effects the smoke emitted from a flow object set to fire, that's why it is under the Fire settings. It has no effect if the flow object is set to Fire + Smoke or Smoke only. Because objects set to Fire only are missing their own independent Smoke Color settings.

@GordonBrinkmann as glorious as mantaflow is, the settings are confused -- and not clearly documented anywhere. Personally, I'd love to see someone explain mantaflow's algorithm a bit, and provide more detail about how the various settings interact. Currently, the only way to become fluent is lots of trial and error.

I was thinking about doing a tutorial on some things like smoke color and flame color (which although I said different affects fire+smoke objects, too - but that would go too far now) and using the volume info node and comparing with the attirbutes (density here as well)... but I don't know how to start, I'm no tutor and I don't want to start from the beginning - more like additional info for people who already do smoke/fire simulations but ignore those settings because they don't know what they really do. Okay, now I'm too far off-topic for a Q&A.

@GordonBrinkmann While I agree we are getting off-topic, I've found your responses very helpful, and would enjoy seeing your tutorial. IMHO, the documentation really needs improvement. For example, emission. I also found this reference guide very promising, and would like to see more detail provided about the settings used and exploration of other settings. Ultimately, folks of differing experience need different levels of simplicity/complexity.

Hmmm... the emission documentation in particular seems quite okay to me, I don't miss anything there. But in general the manual could need improvement. However I know from my work getting workflows written down so everybody underdtands it and keeping with all changes isn't always easy.

Since I cannot see any shader settings in your question it's hard to tell where the problem is. My only advice I can give is showing you which settings I use (of course not always exactly the same, but I'll show you an example resulting from those settings).
I usually take a Volume Info node plugged into the Principled Volume shader. You don't have to use the Density output and multiply it, you can simply enter a density value in the Principled Volume which will be the multiplier. But note: by default, the Density Attribute "density" is already set, if you plug the density in from the Volume Info you should remove the attribute because otherwise the node combines the values with itself somehow. The same goes for Color and the Color Attribute, by the way (read more about it here.) You can set different densities and colors for different Flow objects in the Flow Settings.
The Flame output of the Volume Info I usually multiply with a high value to make it quite bright so that it shines through thick smoke as well. The brightness of your flames is always also dependent on the smoke density and smoke color, because the thicker and darker the smoke, the more it absorbs and blocks the flame's emission. This multiplied Flame value goes into Emission Strength. You could set a single Emission Color, but I prefer varying the color according to the flame density so I use a Color Ramp for that. Don't plug the multiplied value in there, only the direct Flame output. Of course you can always play with all these values to your liking. I never use Blackbody Intensity or change Temperature etc.
Here's my setup:

And this is an example explosion I rendered with these settings (sorry for the low quality of the GIF, but you get the idea):

Sometimes you don't even need to set the Flow object to Fire + Smoke, depending on what kind of result you want to get - you might get away with Smoke only. Of course they have some different settings and simulate differently etc., but to get fire into a smoke object it only needs a little tweaking. The following image of fire "pouring down" is made with a smoke simulation. Notice that I'm using the density output of the Volume Info for the emission. If you have simulated fire and smoke you could also combine those by adding or multiplying Flame and Density.


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Is there an reliable method to control for angles when working with multiple consecutive actions in one scene?
Currently, I am working on an animation where a character walks then turns at a 90 degree angle to the right then moves into the idle animation using a transition. All X,Y,Z rotation start at 0 for the following action sequence: Walk>Turn Right>Idle. However, the idle animation that follows is not turned in the same direction as the right turn animation. I tried turning the the idle animation using an object rotation on the Z-axis however, doing so messes up the transition between the to actions due to inconsistent angles between the idle and turning animation. I tried applying the rotation to zero out the angles after rotating the idle animation but that didn't work. Additionally, since it is a a Mixamo rig, I tried deleting the rotation in the hip bone, and used the empty I used for the walking animation to turn the rig for the turn animation; this worked to transition between the turn and idle animation, but the empty tended to mess up the animations for the rest of the actions down the line. So, then I created a new action using a previous action, but that didn't register as a new action as I could see the keyframes from the last time I used that action. So now I face the following problems when I implemented the previous method, actions  are now facing the wrong direction and are not sitting on the empty anymore. Is there a better way of controlling for angles in a scene with multiple animations? Any help with this would be helpful. The only solution I can think of is using multiple empties, which doesn't seem practical.


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Rendering interval by frames
I am new here and i hope i am not making anything wrong.
So, my problem is : I want to render my animation, i have 5+ computers to do that and the scene has 2730 frames.
Its possible for example : on computer 1, render from frame 1 to 500; on computer 2 from frame 500 to 1000;on computer 3 from frame 1000 to 1500 and so on ?
If yes, how can i attach each rendered animation to the other ?

Related https://blender.stackexchange.com/questions/47083/how-to-render-specific-frame-ranges-of-an-animation-in-batch-mode

Another option that is available if the machine are on the same network, is to enable placeholders and disable overwrite in the render output settings, then have each machine render to the same network folder. Each machine can then render the same frame range but each will render different frames.
While getting a little more complex, there is also a network render addon included with blender.

You can set the rendered frame range from either the render properties next to dimension settings, or from the time line Start and End range sliders.

You should always render animations to image sequences, and combine to video afterwards in post production.


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Low Poly Modern (2018) Standards?

What are the standards to which it refers? (https://en.wikipedia.org/wiki/Low_poly)

This is described in the page you referenced https://en.wikipedia.org/wiki/Low_poly#Low_poly_as_a_relative_term

The term standard is not used in the sense you think. It's not like an SI units standard or sRGB (literally meaning standard red green blue) standard. There is no definition for lowpoly, other than it needs to display in real-time. It depends on hardware.
By modern standards (standards in hadrware) it is safe to say that the dolphin can be rendered in real-time and so would be considered low poly.
By ancient standards (4bit computer the size of a room) you wouldn't be able to render that at 60fps, it would be considered high poly.

It might help to show the dictionary explanation of the particular meaning of 'standard' used here. For example https://en.wiktionary.org/wiki/standard#Noun "Something used as a measure for comparative evaluations."

There are no standards! Low poly is always a relative term. There are several factors that decide whether it is low or high poly. It is also described in the same article.
But think of it as trying to decide if a room is minimalistic decorated. A large living room with 30 items can be minimalistic, but if you place the 30 items in a small corridor it is not. There are no guidelines and is more of a assesment from room to room - the same can be said of low / high poly


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How the Blender 3D 2.8x Graphical User Interface is Made?
I want to know all the processes, functioning, involved languages, examples of code, and URLs to official sites with updated information if possible.
NOTE: I'm not a programmer. I just want to know how and where to start learning.
Nine years ago, a user did respond:

Assuming you’re talking about the 2.5 series of Blender, at the lowest
level, Blender’s UI is implemented using OpenGL (primarily coded in
C). Hooked into that is a Python layer. This means that it’s fairly
easy to modify Blender’s UI using Python without sacrificing much in
the way of performance.

And according to the resume of better responses about its GUI development and portability, but not updated (4 years old):

No. You cannot use Blender's GUI package in other programs outside of Blender.
Blender Graphical User Interface package is solely designed to be used
with Blender on various platforms. Blender also has a custom window
manager. And the UI widgets in Blender are tightly coupled with
Blender's Data API (RNA/ID properties)

There is GHOST (General Handy Operating System Toolkit), which can be
used outside of Blender, but it's very low level, only providing
window access, mouse, keyboard, ndof and tablet events from
X11/MS-Windows/OS X. It doesn't actually draw anything; buttons or
text, for example, are handled by Blender's own code.

A year ago, but not as much detailed as a need:

Blender’s entire user interface is drawn on the screen via OpenGL. Most of the UI is defined in C, and some parts, like most of the layouts, in Python.

So:

I know that Blender can render scenes in PCs that don't support the Blender Software trough its binaries — which accept CLI (Command Line Interface) commands — because a long time ago I couldn't run 2.79, but 2.76... But trough SheepIt Render Farm you could render other's 2.79 files without issues with your CPU and vise versa.

That CLI support makes Blender GUI independent (what means that GUI is just making CLI calls at every change) or is the GUI more core-nearly (what means that Blender Core Code is associated with changes in GUI code)?

You effectively can implement the Blender Graphical User Interface (or part of it) into another application that uses [favorite-examples] languages?

Why
I'm searing for a concrete answer for that because I want to deeply participate in the Inkscape development, and its actual major issues (For users) are a no fully developed GUI and no CMYK support. In the other hand, Blender is actually super industrialized (which means that its use is a totally PRO- without CONs- for businesses)
Inkscape Developers are porting all its codebase (which is based in C) to C++ and they want also to split the User Interface to a separated implementation, in order to be able to use CSS files to develop it, and I want to know if it's possible to approach Blender Codebase in the process.

CLI is also a user interface. It just uses command line, and not pretty graphics. Both CLI and GUI communicate with "backend" that actually does stuff. Since Blender is OpenSource (and licensed as GPL) there should be no problem creating a new GUI for it in a different language, but that mostly depends on the language. Language would need to communicate with backend somehow. In most languages there usually is a way of "wrapping" binaries so they can be used as libraries, but that is language specific.


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Masking out one texture on top of another with precision detailing
In my model, you will notice a silver paint that is applied to the surface of the black material. I'm looking to layer the silver material on top of the black material and then perfectly mask out the silver material in order to get those silver graphics and rune symbols using nodes. I got confused by some of the tutorials I was watching, sadly. In my file you'll notice the silver is covering the entire model and i've used a mix shader on it and the black material (i'm assuming my nodes are set up poorly, but I'll let you be the judge). I've attached my blender model and screenshots of both the 2D design and current WIP of the model. Thanks for your time!
Blender File


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Trying to sculpt seams into a jacket with alphas and failing. Help?
I'm trying to sculpt strips of seams with stitching using alphas into a high poly jacket that I plan to later retopo and bake the normals (I've seen Zbrush users do it here). I can't quite get the settings right with the sculpting tools (such as curves and stencil mapping) to replicate what's in the alpha (here's the alpha if you'd like to give it a try). You can see my results in the zig-zag looking area below (the others seams were done by hand and I don't enjoy that process). If you have any tips, that would be great (or a better way of getting realistic seams in leather jackets). Thanks

Can you post a photo of what you want as the result ?

Sure thing! You see the seams going down the arm and where the shoulder area is in the photo in the link below? I'm going for that. https://m.media-amazon.com/images/I/81gPumH6e1L.AC_UL1500.jpg

I'm not sure your image works right for what you're trying to do...

here it is : https://blender.stackexchange.com/questions/72121/is-there-a-way-to-make-stitching/72123

Hey hamed, those settings helped a lot! Thanks bunches! One less headache to worry about!


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Zipper along complicated curve issue
I tested out other answers here and here to no avail. So, I'm stumped. In the image below, I'm trying to get my zipper to follow along the curvy, windy path of the leather cowl/collar. You can see the final result I'd like to get in the right image as well as this real world example. I got the center zipper in the file to follow a path with relative ease. But this curvy one is just too hard for me (I've tried different axis, fixing loc/rot/scale issues). I've attached my file here for anyone who wants to give it a go. Any help would be greatly appreciated!

Locate and select an edge-loop in your jacket-mesh which follows the path of your zip.
ShiftD duplicate it, and P separate it to a new object.
Convert it to a curve.

I found I could set the spline-type to Bezier and decimate it to 0.1 without losing visible detail.

Place the origin of your curve at its bottom control-point, and move the zip-array to the same location
Assign the Curve modifier to the array, aimed at the new curve, along Z, in your case.
CtrlT twist the curve so the zip is radially pointing the right way, or, rotate and perhaps shift the zip's mesh with respect to its origin, in Edit Mode, to align it.

I can't comment without knowing the exact intent of your model, but I suspect you could save quite a lot of trouble by working on a lower-poly mesh, and I'm assuming this detail is too small to be overly-concerned about very slight distortion of the zip's teeth.

I can do 1-3 well enough. At 4 I used the 3D cursor to set the origin of the curve to its bottom control point. I then physically dragged the zipper so it's base was right on top of the base/bottom control point of the curve. I then assigned the Curve modifier on my zipper array and aimed it at the new curve, selecting to use the Z-axis. And then....CTRL+T just brings up an "open file" window for me....I think it may be because of an add-on I have? Any idea how to work around this?

Update: when I hit CTRL+T, it opens a "Create Material" window. I think it's a Jama Jurabev add-on I have related to quick texture applications.

@majiinakuma The origin of your zipper was at nearly the right place with respect to its mesh, so 'Selected to Cursor' in Object Mode put  it in the right place, after the origin-of-curve move. You can adjust the twist of  selected curve  control points in the N-panel, in Edit Mode. Probably better to get the overall alignment by rotating the zip around Z in Edit mode, and just use the twist to tweak parts of the curve, if necessary.

OK thanks that helped bunches. I actually went into my preferences and reset the hotkey for CTRL+T to be CTRL+ALT+T to avoid those hotkey mix-ups in the future, so I was able to transform enough to get the zipper to form as best I could. Again thanks so much!


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strange bone alignment
If I click the bone and press g, and press ctrl, it creates an orange line and aligns in a strange direction. Why is that? It was originally arranged at right angles by pressing the ctrl key.

What CTRL does is determined in the very center of the top of your screen. It's a snapping tool and what it snaps to can be selected next to the magnet icon. ATM you're snapping to the closest face. You may want to set that to Edge Perpendicular.


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How can I move vertex to a virtual line?

In the tutorial, it says you can press the G key and then the ALT key. It doesn't work.
I tried pressing C, but I can't. blender version is 2.90.1

could you please link the tutorial?

here you are  https://youtu.be/KzA5fOIq8Qw?t=718

double g key and press c or press alt


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Why does lighten change the color of the dark part in mix rgb?

I understand that the add is adding that color, and multiply is coloring the brightness.
But I don't understand why the lighten only colors dark areas. Unlike the name, why does the lighten add color to the dark part?

Lighten = pick the highest value color
As shown in the manual:

Blender is using the transformations as described in the Gimp specifications:

Lighten only mode compares each component of each pixel in the upper
layer with the corresponding one in the lower layer and uses the
larger value in the resulting image. Completely black layers have no
effect on the final image and completely white layers result in a
white image.

So it's basically using the highest value color, thet's why it's more probable to affect the darker areas as your shadows
https://docs.gimp.org/en/gimp-concepts-layer-modes.html

Are you saying that it affects the highhist value color and that the highmost value color is close to black? @@ sorry my english

Hmmm, no. The highest values are closer to white. It confronts the two pixel of the two images and uses the one wich has the highest value. So shadows, which are dark, are probably substitute and highlites tends to stay the same.

In your example, the shadow (black) has a value of 0, the highlite (white) is instead 1. The blue you are mixing is around 0.3, so for shadows max(0,0.3)=0.3 (blue) and for whites max(1,0.3)=1 (white).

ah. white is 1. black is 0. Compare the two values and print the bright ones. shadow is 0.0.0 -> print 0.0.0.3. because blue is bigger than black


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Uv lines are only visible in edit mode

It's easy to paint with a guide line like that on the tutorial, but I can't.
I only get a guide line when I'm in edit mode.

Try switching the viewport shading mode to Material Preview (Top right corner of 3D view window).
Also try Texture Paint mode (Top left corner of 3D viewport window or Ctrl+Tab in the 3D viewport).

I can see the lines in uv paint mode but not in uv edit mode.

Don't use edit or object mode, only use Texture Paint mode for texture painting

I mean Uv editing tab. not edit mode.

It looks like your trying to texture paint, if so use the Texure Paint tab and Texture Paint mode, do not use the UV Editor tab, Edit mode or Object mode.
The UV editor is for mapping the images to your object, then you switch to paint mode to paint onto that image

oh.. ok thank you so much^^*

Always a pleasure, never a chore.


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How can I see the result value in shading?

The number 2 obeject of value is 2. 1 is less than 2.
you look at the nodes below.0.5 value plus 0.5 value can be seen. fac is 0.5
So I don't know what the result is. I can tell from the color that it is less bright.
I don't know what percentage of color 2 is and what percentage of color 1 is when the fac is 0.5.
Can I get the exact figures if I debug?

the result is color1 + fac * color2... is it what you wanted to know? Though, this result is modified by color management when rendered (so color picker won't give you the same result).

i wnat to know principle of mix rgb. I got a formula of mix rgb.. it's done!

I used color picker.. it is useful

Use Math nodes. If the material output is white, the value is inside of the range. Carefully change the value to find the range of value.
Maybe there is more precise way to find value.

I want to see number.. but i find way that i see color. it is using of color picker. thank you for answer


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rigging lag problem
It's lagging when I try to rig it. But some projects don't get lag and some projects get lag. There are about 200,000 verts and 200,000 faces for stuttering projects.my stuttering project

Your object has 207,000 vertices, but the laces and eyelets only have 130,000, which seems a bit incoherent (also there's a kind of glitch on the mesh when your armature is in Pose mode, I don't know why?).
You should lower down this number: Begin by using the CtrlE > Un-Subdivide.

Then select an edge ring, go the Select menu > Checker Deselect, in the Operator box choose for example Skip > 3, then Select > Select Loops > Edge Loops, then X to Dissolve Edges. Same thing for the laces vertical edges and for the eyelets...

thank you so much :)


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Assign action is not enabled in the asset browser
I created a character and added an animation.
I registered the character in the Asset browser and also registered the animation.
Characters are brought in well.
But the action isn't working well.
I checked if the bone name was different, and it was the same.
Press apply pose to activate the pose that connects to the first frame.
But the animation doesn't play.
The assign action button is active in the file that created the asset.
However, when I create a new file and try to import characters and apply poses, assign action is not enabled.
Why can't assign action be activated?


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I did the 2D face rig with the image sequence, and even if it's black, it's pink
The image sequence image name also ends with 001, 002.
I set the refresh and the cyclic.
It turns black when I save it

I've tried many ways.
I upgraded the graphics card driver and it was solved.


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I moved the vertex to the grab, but it breaks strangely

At first, I tried to move it by pressing g.
Second, I tried to move with the propotional editor turned on.
I deleted the shape key and the ones that are rigged.
I copied it from the body to make shoes.
The body doesn't crack even if you press g, but only these copied shoes break.

Set Origin > Origin to Geometry. And disabble Mesh Symmetry arround the X axis.

wow it's work. thank you so much.


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Isn't there a function that automatically adds the appended material?

To register the appended material, I have to press 1 and 2.
If I have a lot of materials to register, it's too much work.
I looked through the options, but I couldn't find it to register at once.
Is there a way? Thank you for reading it.

if you want to automate this you'll need to write a script with python

Thank you reply. I see


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What is the shortcut to activate the keyframe?
In a window with a keyframe, move the active keyframe by using the direction key to move it.
But I don't know the shortcut when I want to activate another keyframe.
It's a little uncomfortable to click with the mouse, but can't I click with the keyboard?

What do you mean by "a window with a keyframe"? (Timeline, Graph Editor, somehing else?) You can just hit the left or right keys to move along the timeline and Shift-Left /Right moves to the start or end.

to select a keyframe you need to use your mouse as when you select an object in the 3D view

I want to say everything about keyframes. Grease pencils, timelines, etc I know I can press the keyframe with my mouse. I want to know how to do it with a keyboard. The mouse is uncomfortable. My eng is bad. sorry

to select all the keyframes press A, to select all the keyframe that are after the blue playhead put your cursor after the playhead and press Ctrl left click

Thank you for your reply. I thnk there is no way that we select keyframe in blue playhead.


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What is unexpect behavior in rigify

I don't know if it's because of rigify, but there was a time when the SSD stopped and Windows couldn't load.
Is this what unpredictable behavior is? If the program turns off, I think it'll be worth using Rigify
If the computer is broken, I think it will be a little difficult to use.
What is an unexpected behavior in rigify?

Rigify uses python scripts to operate, so if you have script execution disabled it's not going to work correctly!

@JohnEason do you use Rigify by any chance? It would make you a better person than me to write the answer… I think a single-sentence answer is better than none.

@MarkusvonBroady I do use Rigify occasionally but to be honest have never seen that error here, however I've always had auto run scripts enabled in Preferences > Save & Load. I'd also seen the last posting that you link to in your answer and heard elsewhere a long time ago that it could cause problems which is why I commented.

@JohnEason security problems, you should make sure that blacklisted paths in the settings are the only paths from where you open untrusted .blend files (as Python can do absolutely anything), you probably refer to my explanation here

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In Rigify, “unexpected behaviour” can mean that the rig is not behaving as expected.
It could be due to a variety of reasons such as incorrect weight painting or rigging issues:
Info Found Here: Strange Rigify Behavior
If you are experiencing unexpected behaviour in Rigify, you can try applying location/rotation/scale before generating the rig.
Info Found Here: https://github.com/eigen-value/rigify
You can also check if you have added any animation to the metarig as this is not recommended and can cause issues.
Info Found Here: https://blenderartists.org/t/rigify-problem/591997


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should the size of polygons of a 3d model be the same?
I recently learned from my previous question, that it's better make faces with 4 verts.
It really helped me with lots of things, unwraping, texturing, etc.
To reduce the poly counts of my models, I tried removing the unnecassary verts without turning any 4 vert face to n-gone.
But I don't know if it's OK from a professional perspective.
Please take a look at the image below.

M question is, can the polygons of a 3d model have different sizes? not slightly different, the difference between the size of the faces of my model is huge. i personally thought it's cool and fine but wanted to know some professionals opinion.
Thanks for reading my question,
Best regards.

it's ok not to have the same size, create edge loops only if necessary

Do you plan on using subdivision on your mesh or are you going low-poly ?

@Gorgious the image that I've uploaded in my question also has subdivision surface modifier on it. but my question is about the whole idea of removing some unnessesary edges to reduce the poly count, i wanted to know if that OK.
i have also removed some of the edges from my high poly models, they look ok to me.

@moonboots so, it's better to remove all the unnessesary edges from my models. as long as it doesn't ruin the shape right?

@Amirreza Moeini Yegane exactly, only bring edge loops if it's useful

@moonboots awesome, thank you for your time. would you please write an answer so i can accept it? you answered my question the best way possible.

You don't have to care about keeping the same size for all the quads, a topology doesn't need to be homogeneous, only bring edge loops when it's useful, delete all the ones that don't bring anything to the shape, you'll save calculation and your object will be easier to work.
For example look at this topology: You have small quads around the lips, they are bigger around the forehead, and even bigger around the shoulders, because it's exactly what's necessary for these parts, no more, no less.

Awesome, the answer couldn't be better than this

There is one thing to note however, depending on your use of application a large face might look ugly in a render depending on how the normal of that face is setup.  Sometimes subdividing it might actually help give better result.

@Sidar thanks for this tip, so in case a large face became ugly in rendering, i'll try to subdivide it :-) . however, moonboots said, only remove the edges if they don't bring anything to the mesh.

@AmirrezaMoeiniYegane Keeping your mesh clean is good practice yes, but in any case  shading looks off, it's probably because it needs more detail to get proper shading going. This might likely be more of a thing in Eevee instead of Cycles

@Sidar it's a pretty good thing to know. Because if it happens, it can cause headache and consume our time. thanks you for explaining.


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Texture don't look good compared to Substance Painter. What's wrong on my end?
I made a high poly jacket and used Smart UV Project in Blender combined with Triplanar texturing in Substance and it gave me a good enough result for what I needed. Nonetheless, why does it look worse in Cycles compared to Substance? I've attached my Blender and my Substance files for you to peruse. Here are some screenshots of what I mean and settings. Thanks for any help! As a side note, toggling with normals' strength didn't help much in Blender (I may just be bad at it).

One thing to have under consideration is that Blender uses Open GL not Direct X for the normal maps, and you are exporting Direct X normal into Blender. Another thing is the light setup.

The lighting is something I kept in the back of my head and will definitely iterate more on for better results. However, I did not think/know much about the Direct X and Open GL issue. I'm gonna play around with that.

Hey Emir, so I did the node setup you showed. I guess while it does the switching to Open GL. I'm still curious why I'm not getting that beautiful, slightly "puffy" or "cushion-y" feeling with the knitted pattern in my shoulder areas of the jacket like how it looks in Substance. Adjusting normals and displacement helps sliiightly, but still looks weird compared to substance. Added natural sun setting to really show the texture. https://i.imgur.com/pL0cW53.jpg

Huzzah! I fixed it. I exported as Open GL from Substance and plugged in the Material_Normal_OpenGL instead of the Material_Normal and it solved literally everything! Thanks for all your help! You can see the difference here: https://i.imgur.com/vgpOBIh.jpg

@majiinakuma feel free to post this as an answer, and after a couple of days you can accept it as the solution

done and done! For clarity, any reason I have to wait 2 days to accept my own answer?

@majiinakuma probably just to stop people from spamming self-answers, it's kind of annoying

Huzzah! I fixed it. I exported as Open GL from Substance and plugged in the Material_Normal_OpenGL instead of the Material_Normal and it solved literally everything! Thanks for all your help! You can see the difference here:

If you want use the textures that you already have, you could use the following node setup to "convert your normals to Open GL" by connecting a separate XYZ, invert the Y, combining the X, NEW Y and Z to the normal map node
and this is a raw result with an HDRI (you need to tweek that to make it better).
But remember that the best option is to import a proper Normal for Open GL.

Yes, you are right... Fixed


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Scaling from the center of the object?

I'm trying to scale from the center. The entire circle is selected but it's scaling from the white edge that was option clicked. Is there a setting for this? How can I keep my selections centered?
Cheers!

Change Pivot point to "bounding box center"


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Sculpt Mode – Turn off zoom on Option/Alt pen click?
I'm using a tablet, when I option (alt) click with the pen tip to rotate. It zooms way into my model. Is there a setting for this?
Thanks for any help. Cheers!

Blender > User Preferences > Auto Perspective (uncheck). Cheers


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OS X Sidecar & Blender?
Will Blender work in sidecar? The idea of Sculpting in Blender with an iPad Pro and Apple Pencil sounds Amazing!
Cheers!

I tested - grease pencil in blender 2.8 currently supports Sidecar with pressure sensitivity. It is a bit quirky at times - but it definitely works!


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Part of my object is black

I don't know how I did this. Can someone explain. Is this lighting? shading? why the extreme black and how do I fix this? Thank you. Cheers!

Your Normals are probably flipped on this object: Select this object, enter in Edit mode, select all those black faces, hit ctrl N, it should fix it


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Blender 2.79 - Can't find Spiral tools in toolbox
This is my first time working with 3D modeling. I thought Blender would be a good one for a beginner. I decided that a necklace would be a good first time project to learn blender.

However, the necklace has spirals, but I can't find the spiral tools anywhere in the tools menu. I've searched for about a half an hour on how to get the spiral tools, but every answer is for an older version of Blender.

add curve extras.

If you are completely new to Blender, you really should follow a tutorial. I highly recommend Blender Guru's introductory series.
There are a few ways you could approach your problem. The easiest way would be to extrude(select and press e) and rotate(press r and lock it onto an axis by pressing x, y, or z). If you wanted to be more precise, you could use a curve, and taper it with another circle curve. However, this is rather excessive for someone inexperienced. It will take time to get the hang of Blender.


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why does the texture gets stretched on my rectangle shaped object?
I have UV Unwrapped my rectangle looking object.
Even though the UV looks fine to me, the texture gets stretched.
I tried using heavier subdivide to make each face more like a square, I tried different seam patterns but I couldn't find the solution.
I noticed that when I Scale an object, the texture gets stretched, so I created a new squared and extruded it from one side to make a rectangle instead of scaling it to the side, but still same thing happened, texture got streched.
I also tried googling this question, but couldn't find a tutorial talks about unwrapping a rectangle, this might be because it's so easy so no one creates a tutorial about this.
but anyways I finally made the decision to ask myself in here.
How can I fix this?
Below you can find a screenshot of my object, seams and the UV.

Best regards,
Amirreza

Did you apply your scale with Object > Apply > Scale (or CTRL A) before UV unwrapping ? The pattern in the UV editor looks like an unwrapped cube but your object has a soap bar shape

@Gorgious No man I didn't, I didn't even know about that. thank you for the comment it fixed my issue :-)

The stretching is happening because your model's polygons are rectangular, but the UVs are square. Apply Scale to the object before UV unwrapping.

Hi. If you need to ask a question to the OP to clarify a detail, this is best done as a comment.

Oh yeah that fixed the problem, Please edit your answer and add the steps of applying the scale to the object (@Gorgious comment under my question) then I'll accept your answer :)


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how to change the location of all keyframes in blender timeline at once
I have an animation that has 129 frames. My problem is that the rotation and location of the object are not right.
I want to change the location and rotation of all 129 frames at once.
I tried setting them one by one to each frame but it takes some time.
The location that I'm looking to apply is (G + X + 2) and the rotation is (R + Z + 3.5).
Gratefully Amirreza.

I'd recommend to use an empty and parent the entire part you want to change to it. Then you can move and/or rotate the empty and the entire animation will be adjusted/offset that way.

have you tried with the Graph Editor? Select the curve you need to change and move it manually or with a value + enter

... and in the graph editor a keyframe is a (frame, value) pair where  x is frames, and y is value.  To add 1 to all x location keyframe values, select the curve and all its keyframes GY1.  To shift forward in timeline 1 frame GX1

Use the Graph Editor:

Enable the Only Show Selected option (little arrow button) so that you'll only see the curve related to the selected object.
Select your object in the 3D view, unfold the tracks in the Graph Editor.
Lock all the locks. Only open the one you want. Or select the track you want and ShiftH to hide all the others (AltH to unhide). Or use the search field to only display the wanted tracks.
Select the curve and move it manually or with the value you want, then Enter. To move the curve vertically press GY, horizontally press GX

thank you for the answer, even though that the version of the blender that i'm using is slightly different than the one you're using in this picture (mine is after 2.8) but it was a great solution.
I locked everything except the one that i wanted to change, double A + G and moved it and it appied to every frame. simple as that ♥


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Tips for sculpting lips
First of all, I'm not sure if this is the right place to ask such a question, if it is not, I apologize in advance.
I recently got into sculpting and I'm trying to learn to sculpt humans, I'm watching YouTube tutorials to learn the basics.
I have sculpted a few lips and no matter how much I work on them; the lips just don't look good. to my eyes the problem is with the sides of the lips, I just cannot get it right.
I'd love to get some tips from people who know more than me.
here are two screenshots of my latest lip sculpture, could you please take a look and tell me what to do to improve my lip sculpting, how could I make some proper lips?
By the way, I know practice makes perfect, but I want to get some tips from people with more experience.
Thanks for reading

You have made a few typical mistakes. But that can be fixed. Are these female or male lips? Did you use a reference or did they come from imagination?

Hello @Blunder sorry for late reply.
I think these are female lips and i used a front side reference of 3d lips

You did two popular mistakes here.

you sculpted the lips on the head and not from it.
you forgot the facial muscles that are all around the mouth.

These are the reasons why your lips look so "attached" to the head and not integrated. Also, the philtrum (purple area) looks a bit too big and dominant. And, your model has no chin (green area), and there is no nose. These missing parts can make it look strange.
If you're new to sculpting

start with a whole head. Even if you want to focus on the mouth add a basic nose, chin, cheeks, eyes, and ears. These are helpful landmarks for orientation and to get the proportions and locations right.
start low-poly, add geometry when you need it (use the voxel remesher or Dyntopo to increase the resolution)
use a focal length of 85 or higher for the viewport. The default value is 50 and it shows a lot of perspective/lens distortion if you zoom close to your model. Classic headshot portrait photos often have a focal length of 80 or more.
use reference images and make sure the focal length roughly matches the reference
don't be frustrated. Sculpting for likeness is very difficult. Take breaks to refresh your eyes and spot mistakes you didn't notice before. If you work too long with the model, you will become blind to mistakes.

 from How Focal Length Can Dramatically Change Portraits
How to Sculpt the Mouth
One technique to sculpt a mouth is to dig the mouth corners, then crease in the center line of the lips. Pull out the lips a little and add clay around the mouth where the muscles are, smooth everything around the mouth corners.
Lips come in all shapes and sizes and their appearance can vary a lot. But all lips have muscles and fat around them. They can be visible more or less. Also, wrinkles can be visible more or less.
How to Fix Your Model's Lips
TL;DR → 10 Most common head sculpting mistakes that even experienced artists make
Front View
You have already nicely modeled lips so you can fix them just by adding some clay around the mouth and the chin. Try the Clay Strips and the Clay brush. Later is a bit softer.

image top left:

I remodeled the lips as best I could and marked the problem areas

image top right:

fill up the areas around the mouth, and just a little for the philtrum
make a little "hill" for the chin.
dig two little holes in the mouth corners with the Draw Sharp brush. Then add more clay to the upper lip (left and right) and a bunch of clay right next to the mouth corners. There is a muscle. You can see it on the girl above, the left image. Have a look at the shadow and the highlights right next to the mouth corners.

image bottom left:

smooth everything.
make sure that the transition of lip and skin on the left and right of the bottom lip is soft and that it flattens very easily (blue areas, bottom). Look at the shadow. The shadow is only visible right below the bottom lips, not left and right.
below the center of the bottom lip, there are fewer muscles and fat. There is a steeper flattening. The transition between lip & skin is more visible.
if you want you can make the width of the lower lip slightly narrower.

image bottom right:

if you carefully smooth the top lip above the mouth corner and the sides of the bottom lip you will automatically get a nice mouth corner with a crease/wrinkle. The creases/wrinkles go from the mouth corners down. But sometimes they can go up a bit into the top lip (see reference image above). Young people have it less visible and it's smaller but the wrinkles grow with age.
polish (smooth) everything, and make the philtrum a bit smaller (Elastic Deform brush)
if you want a more realistic appearance then flatten/soften the edges of the upper lip a bit. If you keep it "sharp"/prominent it will look more stylized.

Side View
Make sure that the upper lip skin does not fall too much into the face. Otherwise, the nose is pushed too much into the face and you have a "French Bulldog Human". The slope between the edge of the lip and the nose is rather steep.
The upper lip itself is usually rather flat and slanted inward, while the lower lip is often curved. Of course, this depends on the size, fullness, and shape of the lips.

A Few More Examples

is the example from above with a slightly reduced width
tries to keep the shape of your modeled lips as much as possible
small lips, weakly pronounced bottom wrinkles at the corners of the mouth, wrinkles go into the top lip
soften the edges of the lips, looks more natural and less stylized
the lower lip is not as wide as the upper lip, and the skin of the face is visible on the left and right sides of the lower lip. (the chin needs more love)
very subtile mouth corners (used a photo as reference)


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Transferring Animated Empties to Armature (Motion Capture)
I have recently started a project trying to implement a one camera Motion Capture system. I used a 3D pose estimation Machine Learning model to predict 3D-coordinates on a human body from a video input. I managed to turn those coordinates into animated empties (see attached GIF). Now my goal would be to somehow transfer this motion onto an armature (ideally, onto a Mixamo rig). I'm not sure if this is even possible and I'm a total noob when it comes to rigging and armatures but hopefully someone can help.

CGDive did a series of videos on motion capture and retargeting in Blender here which might help.  Not sure whether it dealt with retargeting Empties though as I've not watched it.

Select the Mixamo armature, go to pose mode, select all bones, press S to scale them matching the empties proportions as much as you can.
In Object mode Apply the Armature modifier to the model, back on Armature pose mode Apply the scale (Ctrl A), go to Edit mode and check that bones aren't connected each other (Alt P > Disconnect Bone, if available).
Add to the model a new Armature modifier, targeting the rig.
Now in Armature pose mode apply to every bone two Bone constraints: one Copy location and one Damped Track, targeting the relevant Empty.
When finished go to Pose Menu > Animation > Bake action (Visual Keying, Delete constraints, Overwrite current).
Don't confuse Object constraints with Bone constraints (it's a frequent error).

Thank you! I solved it in a simlar way by creating an armature which connects the empties and then adding bone constraints as you described. After baking the animation, I retargeted it to a Mixamo rig.


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Denoiser node does not work in Blender 2.82
In Blender 2.82, Intel Open Image Denoise does not seem to work as when I try to denoise an image using the denoiser node, the resulting image is completely black.
I recall the denoiser node working as expected in Blender 2.81. So if that’s the case, is this a bug for this Blender release?

I've had no problems with the Denoiser node in 2.82, so you would need to provide more info or a blend file for us to be able to help. You can upload the file to https://blend-exchange.giantcowfilms.com/.

Please post a screenshot of your compositing nodes.


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Unable to select specific faces in shading mode
I wanna select the faces of the little band around the handle but for some reason when I try to select nothing happens. Not even in object mode I get the orange outline that's usually there. I've tried restarting the program few times but it didn't help.

You appear to have overlays turned off. This means that selected objects (and Faces, Vertices, etc) will not appear to be selected, because the blue/yellow/orange highlighting that indicates an object is selected is considered an overlay.
You can turn overlays back on by clicking the relevant button here:

I've must have accidentally switched it off when i was turning xray off, thank you for your answer!


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Certain parts of rig not getting attached after parenting
I'm trying to rig this model that I ripped from a game with the rigify metarig. After parenting the armature, the body doesn't want to be attached. The head gets attached but the hair doesn't want to move with it. The face's vertexes also move weirdly when moving the face bones, but I'm guessing that's because I haven't applied weight painting yet.

yes, use Weight Painting and also use the Assign button in the Properties panel > Data > Vertex Groups

It shows the bones as assigned though, I'm not sure what I'm missing.

Ah I get it now, still really confused about blender ui sometimes but it's working, thanks.

yes rigging is a big part, maybe follow some tutorials  ;)


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Rigging a character and adding controlls issue
So I was rigging my low poly char and when I was doing the kinetic inverse thingy for my arm it just spun the entire arm and spine around and I don't know what I did wrong https://gyazo.com/0814389d1cb7da5a3d5045bd30f3d79d?token=a409b6a09f7abc895a9abfebeade9209

please share your file: https://blend-exchange.giantcowfilms.com/

Sometimes you gotta change the pole angle yo 90 or -90, is a thing of inverse kinematics in blender. Let me know if that helps !


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How to get information about linked files?
I have a scene with several objects and groups linked from other files.
How to know what file contains my linked object or group?

Have you tried the outliner in Blend Files mode?

Yes, but I still can not find the information I need.

I found 2 ways to get the information I need.

Using Edit Linked Library plugin (Object : Edit Linked Library) is rather helpful.

It allows me not only to see what file contains the selected linked object but to switch to its editing from the Relations tab of the Tool Shelf.

Other way is to use the Blender File mode of the Outliner. It shows the sources of all connected data (objects, materials, armatures etc...), but does not highlight links of the selected object (at least I did not find the way to do it).

One can use search by name of the object to find all information needed.


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How to enlarge dynamic paint cache size (Blender 2.8)?
I try to create 900-frame animation using dynamic paint in Blender 2.8.
When I try to play animation or bake all dynamics calculations are made until frame #250 and that's all.
Does anyone know where the cache size settings for dynamic paint are (if there are any)?
Or maybe there is some workaround to calculate and bake all the animation?

Maybe a dumb question, but did you also set the end-frame in the canvas settings to 900 ?

@NathanHild. My fault... I searched everywhere, but did not notice the most obvious place


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Non-destructive beveling by different amounts on different edges?
I'm new to Blender and have struck a brick wall, and would greatly appreciate it if any one of you can help me assess what's going on here.
I'm trying to reproduce what I created using SketchUp, but the object just won't bevel.

I would like to bevel the outer corners by X while beveling all other edges by X/2, as can be seen in the SketchUp model, all in a non-destructive manner which allows me to alter the number of segments later.
Any clue as to how I can do this?

Create Vertex Groups for more control on the vertices.

The modifier is nondestructive because it can be removed and has the segments option.

To create different bevels non-destructively. Like this one

Create a bevel modifier with vertex group

Assign the vertices. make sure you add middle loop cuts before doing this so it does not affect the whole face.

3.Add another bevel modifier. This time with weight as a limit method.

4.Add bevel weights to the edges.

Tips:

Bevelr does the vertex group bevel quickly. Big thanks to penfinity.https://gumroad.com/penfinity
If the bevels are not working properly try: apply scale, disable clamp overlap in the bevel modifier, re-arrange the modifiers.
The vertex group limit method can be used multiple times with different modifiers unlike the bevel weight limit method.

You don't need two bevel modifiers or vertex groups, just assign a different bevel weight to each edge.

Thanks a million! This did the trick. I opted for two vertex groups as limit methods instead of just one in combination with weight, though. It seems to grant me more control.

Glad to help! Yeah, different bevel weight works too however, it gives more control to have two modifiers.

Blender can do this with 2 bevel modifiers.
Non destructive and you can change segments at anytime.

The image above shows the use of two different vertex groups. The color options was used.

Use two bevel modifiers.
Create two vertex groups.
Each one uses a different vertex group as indicated by the gold arrows.
There are so many options and ways to do this with the modifier.
There is an option Vertex Group
The above image was a cube and is beveled.

@moonboots  Please see edits


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How do I determine Shift+Left Click modal operator?
I would like to determine if Left Click + Shift pressed at the same time in event.type in a modal operator. I also want to treat Left Click itself as a separate event.type than one with the Shift.
I looked around and I can t seem to find an answer. I am wondering how this is done properly.

I may be wrong.. but this is my understanding (and it seems to work for me):
There is nothing as simultaneous with the events. Even if you press shift and click simultaneously, there are actually four separate events. 1) event.type = 'LEFT_SHIFT' with event.value = 'PRESS' 2) event.type = 'LEFTMOUSE' and event.value = 'PRESS' 3) event.type = 'LEFT_SHIFT' & event.value = 'RELEASE' 2) event.type = 'LEFTMOUSE' and event.value = 'RELEASE' (the order might change depending on what comes first).
There is also a CLICK event.value available for LEFTMOUSE event.type that combines PRESS and RELEASE.
So, to answer your question, you would basically need to store an instance variable like self.shift and set / reset its value on event.value == 'PRESS' / event.value == 'RELEASE'. You can check in your function whether with the mouse press event occurred when self.shift was True.
If you figure out a better way to do this, I would be interested to know :)

Thanks I will give it a try.


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How can I draw a circle in an image inside the image editor?
I would like to be able to draw a circle inside an image that is available in image editor.
I found this code here but I do not know how to manipulate the xy values for drawing a circle properly.
size = 640, 480

import bpy
# blank image
image = bpy.data.images.new("MyImage", width=size[0], height=size[1])

## For white image
# pixels = [1.0] * (4 * size[0] * size[1])

pixels = [None] * size[0] * size[1]
for x in range(size[0]):
    for y in range(size[1]):
        # assign RGBA to something useful
        r = x / size[0]
        g = y / size[1]
        b = (1 - r) * g
        a = 1.0

        pixels[(y * size[0]) + x] = [r, g, b, a]

# flatten list
pixels = [chan for px in pixels for chan in px]

# assign pixels
image.pixels = pixels

# write image
image.filepath_raw = "/tmp/temp.png"
image.file_format = 'PNG'
image.save()

```

Wow never knew direct pixel access was possible. Can we now extend it with popular python image libraries as well?

Try this (I'm on Blender 2.81a):
import bpy
import math

size = 640, 480

# Calculate distance between two point
def distance(p0, p1):
    return math.sqrt((p0[0] - p1[0])**2 + (p0[1] - p1[1])**2)

# blank image
image = bpy.data.images.new("circle_img", width=size[0], height=size[1])

pixels = [None] * size[0] * size[1]
center = (int(size[0]/2.0), int(size[1]/2.0)) # center of image
radius = 50 # radius of circle in pixels
for x in range(size[0]):
    for y in range(size[1]):
        d = distance((x,y),center)
        if d < radius:
            r = g = b = a = 1.0 # white
        else:
            r = g = b = 0.0 # black
            a = 1.0
        pixels[(y * size[0]) + x] = [r, g, b, a]

# flatten list
pixels = [chan for px in pixels for chan in px]

# assign pixels
image.pixels = pixels

# write image
image.filepath_raw = "/tmp/temp.png"
image.file_format = 'PNG'
image.save()

Circle isn't very pretty though (could use some anti-alias or blur)!

Thanks, that works for me.

Be tempted to leverage of v = Vector((x + 0.5, y + 0.5)) rather than the expensive euclidean distance calculation, and maybe use the "pixel center" (eg for pixel 0, 0 the center is (0.5, 0.5)) and not type cast the image center to int.  The distance is then (v - center).length


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How can I modify multiple properties of an Operator in a Panel?
I have an operator that has properties like below
class WM_OT_SceneOpen(bpy.types.Operator):
    bl_idname = "wm.sceneopen"
    bl_label = "Scene Open"

    f_path=StringProperty(default="")
    mybool=BoolProperty(default=True)

    def execute(self,context):
        #some stuff

Now I call this in a panel like this and works
layout.operator("wm.sceneopen").f_path=str(file)

However I also want to be able to pass/modify the mybool property as well during the panel execution but I cant find a way to do that.
This must be possible. But how?
Thanks

This has been asked before, searching for dupes gets harder.. anyway in layout code  op = layout.operator("foo.bar") can then use op.x = 2 followed by op.name = "foo" for each property.

Cheers Possible duplicate of Access operator's property with python


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How to highlight a polygon or a vertex under the pointer in Python?
I am trying to figure out how to highlight a polygon or a vertex that could be under the mouse pointer in Python for 2.80. The highlighting is just a visual indication. I realize that I will be needing to scan for components and draw the shape, but just do not know how.
thanks

Look at these templates:
1) Operator Modal View3d Raycast: With this you will find the polygon of a mesh under the mouse cursor.
2) Operator Modal Draw: This contains an example of using BGL for drawing in 3d view. With this you will be able to draw the edges of the polygon you find from raycast.

Thanks that sounds useful, I guess it is a good head start.

I would suggest mentioning that the templates can be found in blenders text editor and maybe add links to the git repo copies, here and here


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How to deal with pie menus that has many items?
I am trying to create a pie menu with 10 items/commands. My pie menu works but I have some items are overlapping in the called pie menu which makes me think that there is a logical/visual limit to number of items that can be on a pie menu which is fine. But how do I create a pie menu that has items more than whatever that logical/visual limit in my Python code in 2.80 release?
thanks

Could you please post your code or ideally a simplified version of it?

Original limitation was and likely still is 8 items. A work around for that can be found here posted by semaphore august 2014 by grouping multiple commands into a subpanel layout.

@Ratt you might be on it, I was thinking that there is a limit to 8 items.  I will take look at the link.


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How do I filter UIlist items prior to displaying them?
I am using the UIlist to create a list interface, it works well but I am puzzled about how to list data blocks with certain features or properties.
I would like to not show them in the UIlist at all. I am looking at the examples in the Ulist doc, everything looks fine but I am not sure if what I am looking for is there sine the complex example is abit too complicated for me atm.
thanks

The UIList documentation includes a fairly extensive example of how to make filters. Maybe if you give a bit more detail about exactly what you want to do I can write an example for you.

Yes it does and that was my issue, although the example is complete but it is hard to understand what and how things are filtered. I was just looking for a basic explanation for the logic.

If you post a description of a simple thing you want to achieve, I will give you an example of it.


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How do I enable GPU rendering for Radeon 5870 in Linux?
I am running Ubuntu 18.04, I use blender 2.79, and my GPU is an ATI Radeon HD 5870.
I am really hoping someone here can help me with setting up GPU rendering. I have installed many different libraries, but I still cant get blender to recognize my GPU.
Can someone please help? I would really appreciate it. Thank you!

Possible duplicate of Enabling GPU rendering for Cycles?

@Duarte Farrajota Ramos I already tried that XD

@cegaton thanks, but that wont work because I am running linux, not windows.

Related https://blender.stackexchange.com/questions/98109/setting-gpu-rendering-cvmcompiler-has-now-run-for-5-hours


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How to put a luma mask on a texture in blender render
I don't like using cycles, so I prefer using Blender Render.
I have two images for textures. One is the texture itself and the other is a matte.
Texture:   Matte:
How can I combine them to create a transparent (luma mask) texture of any mesh?
Please ask if you need any more information

In the texture panel you can assign different images as texture fill and texture mask. Its pretty old way to do it so you may be challenged getting an accurate description. Your material must have transparency active so it can grab the texture mask value for alpha

https://blender.stackexchange.com/questions/131632/how-can-i-get-this-wax-effect/131634#131634


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Outline only the outside of mesh (depending on camera angle)
How can I create an outline, using solidfy, only on the outside of the mesh (no the inside) even depending on the camera view.
for example, with the model below, the inside of the object still has outlines, only the outside should. And this should be no matter the position the camera is view the object.

I think what you're looking for a Freestyle, which allows you to draw outlines. Solidify doesn't seem like the right tool for what you're trying to accomplish.

I tried that, but I kept getting gaps, and it still outlines the inside contents. What settings should I use?

There is no direct built-in feature that does this.
You could try to tweak the settings of the freestyle, e.g. try going by material border.
You could also try to use the double edge mask, or the dilate/erode in the compositor. If your object is not on a transparent BG you can use object/material Masks.

Are you using this technique, and having problems with it?

Yes, I am using that technique.


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How to animate in Blender on 2s
When doing animation in blender, how can you get the illusion that it was animated on 2s. I do my animation 24 FPS.
A perfect example would Spider-man into the spider verse. The entire movie is on 2s.

You can perform your animation using odd numbers only, then select all objects or armature you used and go to the menu: Object (or pose), animation, bake action. Set the frame step to 2, then select all the new action and set the interpolation to "constant".


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Node Editor: Custom Label Shortcut
I want to create a keyboard shortcut to quickly label a selected node.
The ideal shortcut would bring up a text box to show input, and then pressing Enter would assign the text as a Custom Label.

As of version 2.81, Node labels are now quickly renamed with the hotkey F2.
Additionally, Ctrl F2 opens a Batch Rename window for bulk editing. These shortcuts also work with Objects, Bones, and Collections.
(Note: I originally posted this question in the context of version 2.79)

You can't do precisely what you want, but SHIFT-ALT-L will bring up a dialog that allows you to quickly modify the label
(Not sure if this requires Node Wrangler or not. If it does, simply enable Node Wrangler in user preference -> Add Ons.)

Yes that is from node wrangler.

Complementing the answer, using the Node Wrangler addon, if the label previously has a custom name, first use Alt L to clear the name, and then use Shift Alt L to give a new name (in the Add to Beginning field).


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How do I show a rendered image in a new viewport without the verticies being highlighted?
Sorry it's a confusing question. Here's an image of what I'm talking about.

I would really like to see my model rendered without all the black outlining everything as I work on it.. I never had this issue before back in March when I last worked with blender.
Edit: The material is shadeless and the rendered mode is selected for the view. I realize you can't see that in the screenshot.

I'm not sure if it is the ideal fix, but if you just want to not see the vertices in the view on the left (which show up because toggling into Edit Mode on that object is affecting its mode in both views), I think turning off Overlays in the left-hand-side view will give you what you want. I've indicated where the relevant button is below, and give an example of what the result looks like:

As alternative, there may also be a way to only switch mode on an object in one viewport window but not in another, but that I am not sure about.

Thank you! Turning off the overlays is exactly what I was looking for!


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Why do I get different Denoising Normal Information when exporting as HDR and EXR files?
At the moment I am rendering images and need to also export their albedo and normal information.
When I export them as .hdr images I get following result:

When rendered for EXR (or PNG) I get the following result:

It seems like the .hdr version is incorrect.
Is this possibly a bug or is there a proper explanation?

This may very well be a bug, but even if it were not, HDR and PNG are poor choices here.
HDR is a horribly inefficient format when compared to EXR. This is doubly so when considering that an albedo represents a range of energy reflectance of a whole. That is, the primary value range for an albedo is 0% to 100%, or in normalized float terms, typically 0.0 to 1.0.
So why is HDR horrifically inefficient? The encoding scheme is dedicated to encoding much larger ranges. That trade off means fewer bits are allocated for that crucial range of values between 0.0 and 1.0. The same applies to scene radiometry as well, where the emission range frequently isn’t using up the entire bit range of HDR’s encoding scheme.
EXR is by far and above the only file format one should be using when dealing with these sorts of things. Sadly, some people are forced into other file encodings due to poor software, and have to make do with awful encodings.
This link is extremely informative for those who seek further information on the file encoding quantisations:
http://www.anyhere.com/gward/hdrenc/hdr_encodings.html