We’ll also need to fix a rotational difference between our models before we bake – in PLY files Z is up, but in OBJ files Y is up. Now that we’ve prepared the two versions of our model we can take a quick trip into MeshLab to bake our base texture. We don’t strictly need this texture, but without it MeshLab seems to hit an error part way through the conversion process – so we’ll have to live with it for now and clean up any useless files once we’re done with the next step. Change the ‘Color Extension’ option to PNG and click ‘Ok’.Īs well as exporting our new UV’s this exports an empty texture file.Untick all of the other options apart from ‘Export Color ‘ and ‘Apply Padding’.Change the ‘Texture Export/Import Workflow’ to Gloss/Colour Specular.Set the file type to OBJ, select the Temple_MESH file from the browser, click ‘Save’ and confirm the replacement.On the menu go to File > Export Objects & Texture.However, if you feel the need to improve them further, this 3D-Coat:UV’s tutorial by Alex Meister is a great place to start! Our import options have gotten rid of the old UV’s and automatically generated some new unique ones for us.ģD-Coat offers a huge amount of UV tools that we could use to tweak, scale, re-arrange and play with our UV’s for the rest of time – but for what we are doing we can live with the auto-mapped ones. The bright colours we see are 3D-Coat’s way of showing the separation of faces into UV Islands – this means it worked. Since we’re going to have a few files floating around it’s a good idea to use a naming convention to keep track of everything – call this one Temple_COLOUR. After opening our Temple model in MagicaVoxel, head to the bottom right and click Export, then PLY. Preparing the Modelsįirst we need a version of our scene that contains all the colour information in vertex data. To fix this issue we’re going to export two versions of our model from MagicaVoxel, then use a combo of 3D-Coat and MeshLab to give us our unique UV’s and base texture. Exporting as an OBJ file is the closest it comes, but the lack of unique UV’s leaves us unable to use complex texture based effects (such as lightmaps) to bring some final polish to our work. However, none of them let us treat our voxels as a ‘standard’ model. My goto voxel editor is MagicaVoxel – it’s a great tool and provides us with a great amount of export options. Whilst it seems like the answer should be as easy as saying ‘the same way you improve the look of any scene’, it’s not quite that simple.
KRITA AND 3D COAT WORKFLOW HOW TO
The most common question I get asked about working with voxels is how to improve the appearance of your final scene. To do this we’ll be using 3D-Coat, MagicaVoxel and MeshLab – so let’s get started! The Problem with Voxels… In this tutorial we’re going to look at creating a unique texture for a voxel model and discuss a few simple techniques you can use to enhance your voxel work. Hello there! My name is Phil (aka phil_xg) and I’m an Artist, Game Developer, and Sketchfab Master from the UK.
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