Issues with cord. Please help!
Hello, I am experiencing few issues with the cord that I have made by creating a rectangular 2d pattern and added 4 mm thickness.
I have two issues;
1)The cord has these linear marks at side which then effects how my PBR textures look in Clo3d.
2)It has weird mesh when exported as an obj.
I am trying to achieve seamless texture in Clo3d. And, a nice meshed cord when exported as an obj to Blender.
Please see below images as I tried to explain with visuals and shared images of my property settings.
I appreciate your help a lot. Thank you.
Simulation property settings
Then, I took it to blender in the hope of texturing in there. But I see that the mesh is problematic and it maintained the problem. ( I only know how to shade in Blender but if you are familiar with the software, would it be possible to fix the mesh in there?)
Hi Candide, let me try and explain what is happening and some avenues to try and solve it.
- The seam you see is the side seam in CLO, which is showing a bit different than the front and back sides of the fabric.
- When rendering the effect is not terrible, but there is no way for CLO to match the pattern from the side to the front and back automatically. You could try manually working with the transformation (angle and size) of the side texture and normal maps. This might be your best bet here.
- After exporting to Blender, the cord mesh is very dense. To fix the shader (textures in CLO language) in Blender you need to know how to UV unwrap. If your knowledge is limited in Blender, I believe you should not start learning with this task, as it will be time consuming. I am certain that the UV unwrapping that CLO exported the cord with, is much better than what you could attain being a novice in Blender.
- Now, here are some solutions you could try:
- Play with the transformation settings on the side texture, normal map and other maps in CLO. You will need to mark the side of the fabric as to not use the same settings as the front.
- Export to Blender with a high particle distance on the cord, so you could UV unwrap much easier in Blender, and then apply a subdivision surface modifier in Blender to make it round and smooth.
- Create the cord and knot in Blender and UV unwrap from the beginning.
I hope this helps,
When I create knots I use a knot software that creates the tied knot shape that I then import, re-drape in simulation for a tight knot and then trace in CLO3D when I have it settled in my posed garment > Slice any loop(s) into open shapes and then trace > 1 single click.
And then convert as a thin mesh quads. (CRUCIAL STEP) >> Then place an offset internal line that is in the center of the thin knotted strip.
Export that internal line from CLO3D as a 'object nurb to blender. > In blender create your profile diameter for your chord cross section > and then select the object nurb (curve) you exported from CLO3D as the guide curve. You will now have a perfect chord model (that you can re-import back into CLOL3D as trim) or keep in blender. Simply select one quad edge topology line > (alt + double click loop line) and you can use auto-uv to follow quads to create the perfect matching UV. All up about 5 to 10 clicks of the mouse.
See how the stitching below is simply a cross section shape (2 ply yarn) that I have applied to a stitch shape curve in blender and then repeated along another seam line curve. When you export from CLO3D you can select the option to export internal lines as .obj nurbs, and you can apply any complex model shape to that curve. In your instance you would apply a simple cord diameter (circle) and stroke it along the curve to form a surfaced chord > then split the cord along the length and auto-UV to follow quads. and apply a simple texture repeat.
It will also have perfect quads, be a lightweight poly mesh and be able to sub-divide.
And there is also no limit on the knot complexity you want to do, all simply on click to trace and basically the same time frame. So simple or complex knots have pretty much the same workflow time frame.1
Thank you Pablo Quintana and ottoline for your replies.
Pablo Quintana I have ended up tweaking it through playing with side texture. I find it so difficult to UV unwrap it in Blender for this particular file.
ottoline I will try your work flow recommendation next time altough there are many knot softwares recommended as a list in the post that you referred to. Which one you mean by saying ' I use a knot software'? That wasn't clear to me.0
Knots3D V3.444k << Link
See link to programs on that web page.
It's not worth unwrapping in blender as you have to do a lot of mesh reduction in conjunction with that process, if you do want to go that way you can use the follow quads to get a rectangular map quickly after splitting the chord. But quite a lot of mesh reduction and UV editing work.
I simply create a 2D polygon knot in the software save that out to CLO3D/MD and use the trace mesh tool. That creates the duplicate as cloth in CLO3D /MD in a single click, then offset the internal line midway, drape the knot with a decent mesh collision fabric pattern offset equal to the chord diameter and then save out that object nurb. Then stroke that in blender with a simple circle and unwrap down one split line using the auto UV. That way you get a perfect mesh everytime, no matter how complex the knot and can still adjust the poly count with a subd modifier in blender. Because it's also a object nurb line that you are stroking in blender you can set that up as a default tool, so in future for any knot or chord you can repeat the whole process in one click. That way you have full non-destructive editing control. And can also use the tool to create a low to high poly cage to bake down even more sculptural detail into maps should you need it. In other words a simply object nurb knot could become any complex chord, twisted, chain link, necklace , strap etc. One process > unlimited options.1
I am trying to export internal lines/ object nurb from CLO3D (version 6.2) to Blender (version 3.1.2), to achieve more advanced looking topstitching as you shared previously. I have also checked your other comments in the forum but there are some steps that I couldn't figure out especially exporting between two programs. I learnt how to stroke a curve in Blender but I cannot get there.
My question is; how do I export the internal line that I will apply topstitch to, from CLO to Blender to create that nice topstitch stroke and then export that from Blender back to CLO to use it as a stitch? Or is there anyway to create topstitch material in Blender without requiring this export/import traffic ? I have experimented with OBJ exports of a square pattern piece and few offsets - sharing few of it below.
I expected to import only the curve itself to Blender but when I tried to export it without selecting the pattern, it doesn't appear in Blender. Then I baked this piece in CLO and tried to export it as a whole and that did not work either.
I really want to learn this technique, and hope you can help.
Export Test No.1
Export test No.1 Result in Blender
Export Test No.2
Export Test No.2 Result in Blender0
See link to video on how it is done in blender for a chain link.>> Video
Same process but instead you use a stitch you create it off to one side as a model.
In blender you may also bake the same stitch model to a texture library set that is then also stroked to a drawn line manually on the garment. So that offers you two approaches if you decide to add in additional stitches in blender or want to bake them down to the surface so they are faster or to send back into CLO3D for rendering as textures instead of 3D stitch models to keep the render light weight.
Blender has an addon called decal machine that can create the baked stitches automatically if you want parity for both MD/CLO3D and blender in one common stitch library. This means you can then also use these inside Blender for sculpting or texture painting work as textures that allow you to create more efficient 3D models. In blender my stitch builder is a parametric geometry nodes toolset, that creates all the pattern edge and trim detailing for a project > in one click. Which is a lot faster than doing that work in MD/CLO3D for final renders and complex edge detailing.
In that instance (in blender) you may bake not just the stitch but the stitch hole, and shadow line to the pattern edge including the pattern edge cut or fold normal. This means in blender you can make a stitch tool that is non-destructive like it is in CLO3D/MD and edit out or change any stitch across a garment in realtime as you work, non destructively right up to the last moment before you render. In fact this workflow improves greatly on what is possible as you may include pattern edge trim, that alllows you to add in complex trim like elasticated edges, tassles, frayed edges, beading, sequins etc.
I use this exclusively over CLO3D/MD stitching as it is lighter weight to work with, fast, non destructive to the last moment and makes highly portable models at lower resolution that have extremely high detail. In addition it means you can hold one central stitch and trim library common to 3 apps (CLO3D/ MD and blender) all in one location that are 100% compatible.
See below where I add in an elasticated texture trim to the fabric edge (1st image) and then in the second image a matching embroider trim - both these are digital tiles and have the stitching. So one pattern edge can be quickly transformed into a photoreal edge.
And below the same CG fabric with a lace trim edge applied with additional double stitch folded seam. This seam also has a black transparency map to 'fake' the double folded fabric's transparency where it would be opaque in a real garment. So in that edge trim it's simply an edge offset tile map that is opaque to create that realistic effect.
So it's possible to get much more edge trim detailing using this process than you can do inside MD/CLO3D directly. The beauty with this process is it works with the texture tile pitch perfectly (unlike Adobe substance textures) so where the edge texture detail meets the fabric texture detail it is seemless. And here where the fabric is a mesh that has an opacity mask that become crucial to get that pixel perfect so you cannot see the seamline in the textures.
In this image (below) in blender the saddle seam stitch is stroked to a single grease pencil line > drawn inside blender, so you are not limited to post editing work for complex seam/ stitching details if you want to make subtle changes to a simple thin mesh garment assembly. Note this generates all the normals and shadow detail from one simple line. The stitch pitch and seam width is still all adjustable as is the stitching color. So it works as a non destructive workflow remaining light weight and fully editable.0
I have tried some techniques you have recommended.
I have modelled a thread and applied it to a curve with array and curve modifiers in Blender. I notice that it makes the file so heavy and increases the polycount.
So I have look into other techniques that you have mentioned;
Here is the thread I modelled but how do you stroke this thread to a single grease pencil line? I checked this function out; it gives you an option to draw on the surface therefore draw on the pattern. And, there is an option to convert it to either to a path, Bézier curve or polygon curve. How is the the rest of your process for this technique? Could you please talk about the steps to achieve this a bit more precisely? I am also curious about how do you create stitch hole between threads?
Oh and, if you don't mind sharing; how do you bake the stitch model to a texture library to be used as a drawn line? I am not familiar with that.
P.S I checked decal machine add-on but that's not an option for me atm.
Any 3D stitch model you create can be baked as per a conventional texture as a tile map that is applied to the flat patterns UV/texture map. Decal machine simplifies that manual process, and then allows you to apply the tiled image to the converted object nurb into a polyline. So any object nurb that you import from MD as an offset internal line where a stitch would be placed can be converted into that line you apply to the tile map (stitch). This means when you bake the 3D model (just the stitch layer) it will give you a baked stitch layer you can apply to your other texture UV maps.
There are other software's that also make this baking a relatively easy process if you are struggling with the complexity of blender (eg: shadermap) however the process is much the same - so best to stay in one app (eg: blender) and do this workflow.
You only need a very small repeat section in blender for your stitch model, you don't need to generate it across the entire model. You are only creating the repeat texture tile that you will apply as a flat decal plane onto the 3D model. This is important as you appear to be creating the stitches across your entire 3D model - which would be inefficient and lead to a massive polycount. So this is a fundamental point of difference that is maybe leading to your confusion. You create a 3D stitch repeat that you bake into a texture(set) tile map that can be repeatedly stroked on the polyline (converted object nurb) such that it tiles the image along the direction of the stitching, slightly above the fabric surface. You might include additional elements in the stitch like, pucker, needle hole, and pattern seam normal edge.
If you look at how texture 'Trim Sheets' are made and used in texturing 3D assets for complex geometry down into simple texture maps that may be tiled, stretched, aligned and orientated to your quad mesh surfaces (eg: patterns) this will probably make more sense. A trim sheet (also used in decal machine blender addon) allows you to create sets of these textures (or stitches) you may recall from your library and drop onto a mesh models mesh qauds or stroke to a polyline (eg: An internal line from CLO3D as object nurb > into blender > converted into a polyline).
So in the case of trim sheets you may apply a different shader material to select quad mesh and then assign a part of the trim sheet, eg: tile repeat texture. When you use decal machine (or do the process manually) it slightly differs in that you may also place a texture repeat tile map (eg: stitch) on any polyline/curve that is slightly offset above your cloth surface. So there are two options on workflow, even within decal machine or blender. Which one you opt for will be based on what you need to achieve for detailed areas.0