Why is my straight edge getting distorted when I bevel it?

It looks like not all the adjacent faces are connected. The big face on top of the side panels are the problem (image 1). You just need to connect them to the rest. To do that, just create an edge loop on it and merge (Alt+M) the bottom vertex with the one on the top of the wheel hole (image 2). That should do it (image 3).


To perform Boolean Operations in Sverchok you have three alternatives:

Using CSG Boolean Node: It is pretty slow and sometimes produces not watertight meshes and ugly topology. Also it has some limitations, please check the Warnings section of the nodes documentation

Use a Exec Node Mod to apply standard Blender Boolean modifiers to created objects check this comment: This option is pretty simple but requires a little of coding.

Use the Solid Nodes, that require FreeCad, to perform the operations more info here: Once you have installed the dependencies this should be the easiest and more robust solution


If I understand your question correctly you just need to be in object mode with your model, then (SH-A) add an "Armature".  Move it into the model's internals somewhere although that's not absolutely necessary.  Press the X-Ray box in it's properties panel under the "Display" tab so you can see it at all times.

Once scaled and positioned, highlite the bone (select it), get into pose mode (CTL-Tab from Object mode).  Highlite it again if it's not already glowing.  Left click on the model to select that first, then with shift held, left click on the bone.  A 'parent' menu will come up.  Select "Bone".  Your mesh model will then be locked to the bone.

Select the bone not the model when back in Object mode, rotate or move it about and your model will follow.


Eevee shadows and lighting in viewport different from final results

I figured it out the Sun's interactive point doesn't change place in final render result when I move it so I have to rotate the main sun


In Blender, select the object, enter edit mode, open an UV/Image editor window, press the little icon which lets you select a whole UV Island in just one right click, then you can press G to grab, R to rotate and S to scale your UV island.


When should I pack an image into the file?

Packing images has nothing to do with exporting. Most exporters have their own ways to deal with textures.

Blender's packing feature allows you to include external resources in your .blend file. This comes in handy when you want to distribute them to other people or showcase them on Sketchfab.


How to import a grease pencil draw into another grease pencil file?

Anyone trying to import grease pencil drawing into another grease pencil file:

Click File --> Append
Select the Grease Pencil File you want to import -->
A new menu of directories pops up, select COLLECTION -->
A new list of collections pops up --> select COLLECTION again.
Done, your Grease Pencil object should now be "in" another Grease Pencil canvas.

Additional resources on stackexchange. They did not help me, but might help you:
How do i copy material from one .blend file to another?
How can I reuse existing materials, objects, etc from an existing .blend?

Reference:
How To Import Grease Pencil Object


Blender already comes with translations. Open Blender's preferences (Edit > Preferences) and go to the Interface tab. There you can enabled the checkbox for the Translation option and select the desired language. The Automatic option will use your OS language configuration.

You have the option to enable Tooltip to translate the tooltips that appear when you hover over UI items, Interface to translate all labels in the interface and New Data to translate data-blocks such as material and object names.


Create a low poly mesh with high detailed textures?

I'll show the most simple way to bake a normal map and then convert it to another format so that it's more widely compatible with game engines.

I am leaving out ALL theory and best-use scenario information since this topic almost always seems to cause arguments for some silly reason.

I'll just show how to bake an Object Space map and then convert it into a Tangent map since this method of creating a Tangent space map isn't widely known and tends to be very useful especially for a situation like the one I'm showing here.  Instructions for other methods are easy to find.

Have your simple model ready and while in Edit mode press u and select-> 'Smart UV Project', make sure there is a bit of space between all the UV islands as shown in the next image.  Then press 'New' and add a texture which will be baked to.

Now if you add a bunch of Modifiers to increase the geometry and shape it a bit, such as Subdivision, Displace, (Bevel sort of works for this), you can then press 'Bake' and you will have a normal map.(there is a link to a simple modifier tutorial at the end)

Now you can add a new material then move one tab over to the textures and add one of those as well.  The relevant settings are shown below.

Now to convert this to a Tangent Space map,  First of all, deactivate all of the modifiers by unchecking the eyeball and camera icons, otherwise the next stage will fail.  We want the normals to come from the map that we already baked.

Now add another texture using the UV image editor and make sure that you are in Edit mode and have all the faces selected when you add the texture.  This way of adding a texture is primarily used for baking in Blender Internal, I mention this because many beginners think that they have added a texture to their model but that's not really what's happening here.  There is a big difference between adding a bake-to texture and adding a material texture.

Anyways, with this second texture added, go over to the bake section and change the setting to bake to a Tangent map.

Press bake and you should now have a normal map that looks mostly pale blue.  Instead of adding a second texture slot, you can just replace the Object Space map with the Tangent space map and change the Image Sampling section to Tangent map as I've circled in the image.

The modifier stack is based on the following webpage.

http://www.evermotion.org

Create Stone Wall in Blender - Tip of the Week

http://www.evermotion.org/tutorials/show/9267/create-stone-wall-in-blender-tip-of-the-week

Here's the .blend file.  The images are not packed so even though they should be listed, you'll have to recreate them.  http://www.pasteall.org/blend/34142


So you have 2 questions: too many polys in your mesh and how to unwrap it.
Here is how I would do it:


If you do not intend to pose, animate or add subdivision to your low poly, then decimate should be fine. The topology that decimate produces is generally unsuitable for any of these tasks. Some software has automatic retopology (e.g. 3dcoat, zbrush), however even this is imperfect and an ongoing area of research.


How to add another option to set object origin hotkey

To adjust an existing menu, you need to start by finding the python class name of the existing menu you want to alter. You then create a function that uses the same argument list as a classes draw method and append it to the menu in bpy.types. You can see an example of this in the add object template script.

In the case of the set origin operator, the menu is created by the operator, it is based on an enum that appears to only exist in the C source code and isn't exposed to python, meaning it doesn't appear to be adjustable,

If you can't find the name of the menu, then you can create a replacement menu yourself. You would then create a shortcut that calls your menu and disable the original shortcut.

An example addon can be found here.


Export-Paper-Model-from-Blender Add-on in 2.80?

It looks like the guy who makes the plug-in didn’t have time to update the code for the 2.8 beta.

His words: "It is, and will be in 2.80 release.
I just didn't finish the port, so these changes are not commited yet."

You can follow here: https://github.com/addam/Export-Paper-Model-from-Blender/issues/62


Using python you can import a module to use functionality inside that module. Many modules are written using python but a python module can also be a binary file similar to a shared library that was compiled from C/C++ source code. The python/C API reference at docs.python.org details how to write C code to do this.

Blender uses this C-API to provide modules that we can import from python scripts. The binary modules are merged into blender's binary file and the python interpreter built into blender takes care of giving us access to those binary modules. Most of the relevant source code can be found in source/blender/python.

So yes python is used to define blender's interface, the various functions and classes that we use may be implemented in python or C/C++, from the python scripts we run in blender we don't see any difference.


How can I create a pure black-white brick texture node?

You need to understand how UV coordinates work for this. Every vertex has such a pair of two numbers that get interpolated across the mesh. Suppose you have a square made out of four vertices with the shown UV coordinates:

The bottom left of your image will always get mapped to (0.0, 0.0) and the upper right to (1.0, 1.0). If the UV coordinates exceed these bounds, the image will get tiled, which means copies will get mapped to (1.0, 1.0) -> (2.0, 2.0) etc. This means, you can simply multiply (scale) the the UV coordinates by using a mapping node and your texture will get projected onto the mesh multiple times:
.
The only thing missing is the shift. For this, you want to copy your mapping node and input some value in the location x field. Then, create a MixRGB node which will choose when to use which mapping depending on some parameter. To create this parameter, you want to devide the scaled V coordinate by 2, take the fraction of it (which bastically is the rest when devided by 1) and see at which points it is greater than 0.5:

All that is left to do is to plug this output parameter into the MixRGB node, connect the two mapping nodes to it, if you haven't done so already and change the location x input of the second mapping node to your liking.


What are these rectangle areas and how do I remove them

It looks like you have enabled the display of Texture spaces for some of the objects in the scene.

You can disable it for each object separately by un-checking Texture space under Display from the Object panel in the Properties window.


How to transform (translate, rotate, scale) Vertex Groups using drivers?

The simplest way to move a vertex group is using an armature: create a single bone armature, give to the bone the exact name of the vertex group, add an armature modifier to the mesh and select the newly created armature in the modifier's object field.

Now if you move, rotate and scale the bone (even with drivers) the vertex group will exactly follow.

You can have as many bones (and associated vertex groups) as you want in the armature, but - if you want rigid movements - make sure that every single vertex is affected by one bone-vertexgroup only.


How to remove empties without messing up the model?

Empties are used for rigging and every empty will be having it own vetices to modify or rig. If you will remove them your model will go to its original state which a look a bit messy and filthy, They are nothing but just objects which don't contain any vertices data but just support to modify other meshes just as a lattice object will. It mean that you can't remove them but you may hide them by selecting them all and pressing h(alt+h will inside them) and you will not able to see them.
Or you can move all the empties to a different empty layer where there is nothing and hide that layer.


There are Faces inside your model that shouldn't be there.

The best way to remove them is in Edit Mode select the bottom edge press "X" and select  "Only Edges and Faces" from the drop down menu.

Also, selecting Smooth Shading in Object Mode will clean this up.


Bridge edge loop acting weird between 2 clean edge loops

I think the vanilla "Bridge Edge loop" is not quite efficient.

I tried the "Bridge" tool from "Loop Tools" addon, it works like a charm:

This addon is shipped in Blender. Just enable it in the user preferences and you will find the Loop Tools submenu in the Specials menu (W by default).


Have you tried blender --background -P your_script.py -- py_argv1 py_argvN?

% blender --help|grep background
-b or --background
    Run in background (often used for UI-less rendering).
    Enable time profiling for background jobs.
    Playback <file(s)>, only operates this way when not running in background.
    # blender --background test.blend --render-frame 1 --render-output '/tmp'
    # blender --background --render-output /tmp test.blend --render-frame 1
    # blender --background test.blend --render-output /tmp --render-frame 1


You have to adjust your model (topology) to be better compatible with freestyle.

Two problem of your geometry are

intersections
very sharp angles

left: intersections; right:sharp angles

Freestyle isn't designed to work with intersections. An intersection will remove other lines if freestyle wrongly thinks that a line segment is occluded (even though it may be only partially occluded).

If you are using Smooth Shading and Subsurf Modifiers, you should consider checking Face Smoothness. The manual is quite vague

  When enabled, Smooth Shading will be taken into account for edges calculation.

However, I have found that some edges with wouldn't be connected, are connected with Face Smoothness enabled.


Try to use the following menu:

Select your required polygon, go to Select -> Select similar -> Area

Best of luck!


Trees/plants/rocks spam for my game terrain

If you intend to export a whole terrain to unity (or any other RT 3D game engine), it would be wise to create your terrain, the trees, rocks and so on as independent objects, then import them into unity and let unity's distribution method do the work.

The reason for this is that unity works with instances of objects, while Blender would produce actual geometry or - if you do not intend to join your terrain into one object - many objects with possible redundancy of materials. That means more draw calls which lead to a heavy load on the engine.

Besides from that, you would still need to create collision meshes, which means even more redundant data or, if you chose to join all objects into one mesh with submeshes, it would be nearly impossible to generate the collision meshes automatically.


Clipboard Not Working on Ubuntu 18.04 in Blender 2.79b

Make sure blender is in focus and your mouse is over the specific, blender internal text editor window.

Unlike any other text processing application blender not only needs to be in focus but also requires you to have your mouse over the specific (text editor) subwindow while copying text.

Just tested with ubuntu 18.04 and blender 2.79 from builder.blender.org


How do I stick an object to another objects vertex?

You want to use Vertex Parent to parent the object to vertices in the wave mesh.

To do this, select the Wave mesh and switch to Edit mode. Select the vertex you want.

  Note: I've actually found it better to select 3 vertices in a small triangle
  shape, because it will transfer lateral/tipping movement instead of
  pure vertical motion that you would get with a single vertex).

Then tab out of edit mode. Select the float object and then shift-select the wave object. CTRL+P and select Vertex or Vertex (Triangle) from the menu.

If you're trying to create a boat simulation and want the float object to react slower to the wave movement you can parent an empty to the wave and then use constraints to copy the empty's location and rotations to the float object. Doing it that way will allow you to reduce the Influence value on the constraints which will give you a more realistic motion for the float object.


Ian Hubert Lazy Tutorials if I'm not mistaken.
You need to add the shape key, put the value to 1 and modify the wing position. Keyframe/noise after that.
You don't see the wings moving because you didn't modify the wing position with the shape key at 1.0, by the looks of it.


Shrinkwrap tetris shapes without scaling or diagonal shapes

Avoid Boolean whenever possible. For such simple shapes you should not need any "merging" , proper topology is important especially if you are deforming shapes where constant mesh density is helpful.

If you just want the morph into a sphere use the Cast modifier instead, it yields cleaner results.

Model the shape by extruding two faces of a default cube, then add a Subsurf modifier set to Simple to give it geometry to work with, followed by the Cast modifier set to Sphere. Control progression from the Factor slider.


You can use Generic Note Add-on which allows to create some kind of sticky note in the Compositor. In this case I'd suggest re-using a text file from the Text Editor:

In addition there is a nice Comment Node Add-on by @CoDEmanX, which allows creating a list:

Since Blender 2.74, you can use the built-in Frame Node to display text blocks in the Node Editor:

Further information: Is there a way to make comments in the node editor?


How do you render an object that's behind a shadow catcher?

go into render settings>film>transparent


Reset Rotation , Translation and Scale of bones through Script

You can:

import bpy
from mathutils import Vector, Quaternion

arm = bpy.data.objects['Armature']

for pb in arm.pose.bones:
    #Set the rotation to 0
    identityQuaternion = Quaternion((0, 0, 0), 1 )
    pb.rotation_quaternion = identityQuaternion
    #Set the scale to 1
    pb.scale = Vector( (1, 1, 1) )
    #Set the location at rest (edit) pose bone position
    pb.location = pb.bone.head


Is there any way to make edges corners become rounded?

Rounding the corners of the inset face cannot be done directly.

But you can extrude it and so have a "volume" that can be beveled.

Select the inset face
Extrude E
Go to edge select mode CtrTab
Select the edges
Bevel CtrlB (use mouse wheel or +/- from the numpad to choose the amount of bevel)
Once ok, remove the extrude face (select it then X then vertices)
Remake the original face: back to edge select mode CtrTab, then Alt select the border then F to make the face


On the first frame add an empty at the same location as your object.  ShiftS > Cursor to Selected, then add the empty with ShiftA > Empty.
Parent the object or objects to the new empty (CtrlP).
Rotate the empty by 90° along the Z axis.


you could simply do that (following picture):


Making 3 points stick on a plane / flag with wind

Such simple shape should be modeled directly in Blender, I see no need to import an SVG. Resulting bezier curve objects have poor topology with uneven density, unsuited for most tasks like simulations.

I'd model it manually with an even quad based topology, create a Vertex Group for the side closest to the post, then use a Subdivision surface Modifier before the Cloth simulation.

Use the Pinning option for the above Vertex Group and add the force field.


Why "dimensions" attribute is not working on blender 2.8?

You're referring to multiple objects, which altogether have no attribute "dimensions". Each individual object has, though:

for obj in bpy.context.scene.objects:
    dimX, dimY, dimZ = obj.dimensions
    multiple = 5/dimZ
    obj.dimensions = (dimX * multiple, dimY * multiple, 5)

Be aware that division by zero could be an issue. Also I'm not sure if all objects have dimensions (cameras?). You could add if obj.type != "MESH" or dimZ == 0: continue as the second line of your forloop.


Could also look at using from_pydata ? The following runs in 11 seconds on my Athlon pussbox.  Creating and freeing a bmesh for each new mesh seems a little overkill.

import bpy
import time

class Tetra():

    def object(self, scene):
        obj = bpy.data.objects.new("Tetra", self.mesh_from_pydata())
        scene.objects.link(obj)
        return obj

    def mesh_from_pydata(self):
        me = bpy.data.meshes.new("some_name")
        me.from_pydata(self.Verts, [], self.Faces)
        return me

    def __init__(self, verts):
        self.Verts = verts
        faces = []
        for i in range(4):
            faces.append([j for j in range(4) if j != i])
        self.Faces = faces

        pass

# test drive
context = bpy.context
scene = context.scene
start = time.time()
for x in range(5000):
    if not x % 100:
       print("Creating Object", x)
    tet = Tetra([(0.5,  0.5,  0.0), (0.5, -0.50, 0.0), (-0.5, 0.5,  0.0), (0.0,  0.0,  1.0)])
    obj = tet.object(scene)

end = time.time()
print("Done in %d seconds" % (end - start) )


To make texture appear on the mesh just like you see it in 3D View window unwrap the mesh using U > Project From View. From the wiki page:

  Project from View option maps the face as seen through the view of the 3D window it was selected from. It is almost like you had x-ray vision or squashed the mesh flat as a pancake onto the UV map.

Note that because this option takes into account only parts of the mesh which are pointed to the viewer in 3D View, you

  will get some stretching in areas where the model recedes away from you.

So use it when you know that you won't see areas in scene where faces of this mesh aren't pointed to camera.


Is there a way to build an object through intersection?

You almost have it.  In your last photo if you select the sphere and press Ctrl + A and apply its position, it'll move the object origin back to the center.

Then you can just rotate it around the Z axis.

Whatever material properties you set for the torus will only be shown for the visible portion, including volumes.


How can I reuse existing materials, objects, etc from an existing .blend?

You can use "File -> Link" (Ctrl+Alt+O) or "File -> Append" (Shift+F1).
Each will open a File Browser Window, from which you can then choose the file that contains the existing data you want to re-use.
Linking:
Linking will simply create an instance of the existing data, such as a material or an object. This will mean that you must keep both files together, and if necessary update the path to the linked data. It is best to use relative paths for linked data.
Linked objects (note: objects in this context includes meshes, curves, cameras and lamps) have a teal outline (in the default theme).

A linked cube.
You can edit linked data (such as objects, materials, etc), but you will need to edit the data in the original file.
If you need to edit your linked data, there are a number of options:*

Make it a proxy object. Ctrl+Alt+P
This allows you to edit the rotation, scale, and translation of the object.
Make it local. L

Your linked object must be selected when using either option.

With materials, you have to click the  button in material properties.

An example use case for linking is when you need to reuse an existing model in a game or animation, but don't need to modify it beyond the basics of rotation, scale or translation.

Appending:
This creates a full copy of the existing data, which you can modify without issue and include in the file you are editing. You do not need to keep both files together. You are also fully able to edit the appended data (such as an object, material, or scene) without affecting the original file from which you appended.
Appended objects have an orange outline when first appended (with the default theme), but once you deselect them, then select them again, they show as normal objects do.

An appended cube.
Appending increases the size of your result blend file however, and uses more resources when editing, so it is not recommended unless you need to modify the appended data.
An example use case of appending would be when you need to create a variant of an existing model. It can save on time and effort.
For example, I created the Asiatic Black Falcon from the same original model as the Black Falcon by appending into a new file and making a few minor changes.

These two began as the same object.

Credit:

http://blenderartists.org/forum/showthread.php?225258-how-to-edit-appended-linked-objects

Further reading:

https://docs.blender.org/manual/en/dev/files/linked_libraries/index.html#linked-libraries


Select the curve, ALT C to convert from mesh to curve, Ctrl A to apply rotation and scale, in edit mode select the first point of the curve, Shift S "cursor to selected", then in object mode set "Origin to 3D cursor" (in the T panel).

Select the shape mesh, Ctrl A Apply rotation and scale, Origin to 3D cursor, add an array modifier and then a curve modifier, choosing the curve as target.

I had to smooth the curve where it bends nearly 90 degrees.


There is a way to bake indirect lighting in Eevee. Have you ever tried using irradiance volumes? They're in the light probes menu when you add a mesh. The basic concept is that the specific lighting contitions are baked within the boundaries of the irradiance volume. You can scale it up if you want, and increase it's resolution, but I wouldn't go over 20, seems like overkill to me, but if you want to test it, don't hold back. To bake it you go to the render tab, and click "Bake indirect lighting" under the "Indirect lighting" tab


For a quick and simple answer, select the object that will be connected (child object) first, then select the object that will transfer transformation data to the child object (parent object). The selection order is important, the parent object must be selected last so that it is the active object. Now press CtrlP > Object.

There are many ways to parent objects in blender. You can parent objects from five different windows: The 3D view, Properties Editor, Outliner, Text Editor and Console; plus there is a daunting list of different parent types.

It seams that parenting is a complex ordeal, so let me try to simplify it.
Out of that large list, there really only are three types of parenting. Those are Object, Armature, and Vertex.
The differences in the many parenting types

Object Is by far the most common type of parent. It is used in eight of the thirteen parenting types.
Any time two or more objects are selected the object parenting type is available. Any translation (scale rotation, and location) to the parent object will effect the child.

Armature Deform This is arguably the most complicated group of parenting types. Armature Deform is only available when the active object is a Armature. It sets a Object parent, with the selected object as the child, and the active object (the armature) as the parent. It adds a Armature modifier to the child object, with the armature already set as the modifier's target Object. At this point it will do nothing more then a regular object parent. The three sub options Empty Groups, Automatic Weights and Envelop Weights are used in the rigging process.

Bone Is only available when the active object is a Armature. Is exactly the same as a object parent, but here the child is transformed from a single bone.
In the picture below I positioned the ring around the finger, then Shift selected the armature. With the armature now as the active object you can go in to Pose mode and select the proper bone. Finally  parent the object to the bone, with CtrlP > Bone.

Bone Relative Is the same as bone with the difference that any changes made in edit mode to the parent bone will not effect the child object.

Curve Deform Is only available when the active object is a curve object (Bezier or Nurbs curve). It sets a Object parent, with the selected object as the child, and the active object (the curve) as the parent. It adds a Curve modifier to the child object with the curve already set as the modifier's target Object.

Follow Path again is only available when the active object is a curve object. Is sets a Object parent, same as the Curve Deform does. It also animates the Evaluation Time for the Path Animation on the curve object.

Path Constraint Is the last option only available for curve objects.  It does not set any parents, instead it adds a  Follow Path constraint to the selected object with the constraint's target as the active object (the curve).

Lattice Deform Is a special option that is only available when the active object is a lattice. It sets the lattice as the parent and the selected object as the child, plus it adds a Lattice modifier to the selected object.

Vertex This is one of the three main parenting types. It differs from a object parent in that only location information is given to the child. It is the location of the vertex that is the parent. The parent object does not have to move, but a modifier can change the position of the vertex, the child object will move.

Vertex (Triangle) At first glance it may appear the same as a object parent but rather it is the exact same thing as a vertex parent, except now there are 3 vertices. From throes three vertices the child now gets location, scale, and rotation same as in a object parent; with the benefit of tracking the vertices.

The 3D view
The most common way to parent objects is in the 3D view with two or more objects selected, press CrtlP > Object. Note that the parent is the active object and the child is the selected object. This is the same as Using the menu in the 3D view header Object > Parent > Object.
Child parent relation ships are represented in the 3D view by a small dashed line connecting the objects origins.

Here the cube and the monkey have already been Object parented. The cube is the parent (active object) and the monkey is the child.
The Outliner
The outliner is great because there is no confusion with the active object, or which way the parent is going. You simply drag the icon of the desired child object, and drop it on top of the desired parent object.  If there is more then one option for parenting, blender will ask you which you would like to use.

The Properties window
You can simply choose the object that will be the parent. Using this method the active object is always the child.

However parenting objects using this method results in very different results from the 3D view or outliner.
In the image below both the cube and the cone are in the exact same place, and have no rotation or scale. The left side is how both looked before any parenting. I parented the cube to the cone in both the center and the right side. The center is parented through the 3D view, and the right I used the field in the properties window.

The difference comes from the different python commands (more on that in the python section).
What is important is when using the field in the properties window, the child object's distance from the world origin (0,0,0) becomes the offset from the parent. That is shown in the image above by the cube being 4 units along the X axis of the cone.
Python
The last two places you can parent objects are the Text Editor and the Console. Both of those give access to parenting directly via python. The two parenting commands are
bpy.ops.object.parent_set() and bpy.data.objects['child'].parent = bpy.data.objects['parent']
This script will parent just like the 3D view.
import bpy

bpy.data.objects['child'].select = True
bpy.data.objects['parent'].select = True

bpy.context.scene.objects.active = bpy.data.objects['parent']

bpy.ops.object.parent_set()

However this line of code
bpy.data.objects['child'].parent = bpy.data.objects['parent']

will parent the same as using the properties window. The reason being that the properties window runs bpy.context.object.parent = bpy.data.objects['parent'], but everywhere else blender uses parent_set().
However you can avoid using bpy.ops.object.parent_set() and have the child object remain in it's position after parenting. To do that you will have to explicitly set the child's matrix_parent_inverse to the inverse world matrix of the parent. See the code below:
parent = bpy.data.objects.get("parent")
child = bpy.data.objects.get("child")
if child:
    child.parent = parent
    if parent:
        child.matrix_parent_inverse = parent.matrix_world.inverted()

Other options
There are two other way of getting the same type of relationship as an object parent, those two are the Child Of Constraint and the Parent Actuator.
Child Of Constraint
The Child Of Constraint works the same as an object parent, with the added benefit that comes with being a constraint: animatible, multiple parents on the same object, affecting only certain transforms, and affecting only certain axes.
As noted in the manual after specifying the target object, you will probably want to press the "Set Inverse" button in the constraint (this goes back to same thing as the difference in the parent from the proprieties window vs the 3D view). Now you have a object that will behave just like the child object in an object parent.
One quirk with the constraint, is that if you select both the child and the parent objects and move them, the movement on the child will be compound, meaning it will move twice as fast as the parent. After the movement you simply press the "Set Inverse" button again, to bring the child back to the correct location.

My favorite feature of the child of constraint is that you can influence only certain transforms. That is demonstrated in the gif above.
Parent Actuator
The Parent Actuator, being a logic brick, only works in the game engine.  It does the exact same thing as a regular object parent.  While regular parenting works in the game engine (there are some quirks). The parent actuator gives the benefit that the parent can be dynamically controlled in game, via logic bricks or python.


what is the best way to merge the double vertices lines in a plane to sphere object without loosing the plane UV map setting?

Use W>Remove doubles to join them. Next, use Ctrl-E>Mark seem along the verts to allow for separation, basically joined edges will always remain connected, messing up your UV map, unless you specify otherwise with mark seem. Finally select everything in the UV image editor and hit P for pin to lock 'em in place. When you UV unwrap again, everything will be in order.


As LukeD said, a mesh can not be triangulated if you want to use subsurf properly. I found you can press Alt+J in edit mode to make the mesh quads and n-gons.


Change the channel color in Dopesheet/Graph Editor

It's probably because you've assigned colors to your bones in Pose mode:

You can disable it in the Graph Editor > header menu > View > Show Group Colors (I don't know why it is not available in the Dope Sheet though):


This is an even extrusion, no scaling. So..

Alt-select the ring of generated faces, X delete them
Hover - L select the isolated patch
With Snap set to 'Vertex', 'Active', the whole patch selected, and a convenient vertex made active, just G snap the patch back into place..
All verts selected, M merge > By Distance.


I'm not an expert on this, but i think bones aren't really used on delecate things like facial expressions. I think something called face shape keys are used instead.


You must have accidentally pressed M on the keyboard while your mouse was hovering over the timeline. These are called markers in Blender.

To delete it, select the marker with left-click (LMB), keep your mouse hovered over the marker area, and then press X then Delete Markers.


Only render shadow of an image with alpha in it (Eevee)

Just use the light path node as usual.

Make your transparent material with an image texture controlling the alpha as usual.

In the last step use a Mix Shader between your setup and a Transparent Shader connect the Factor input to the Is Camera socket of a Light Path node.


Create a black and white mask for the areas you want to make glow. Then combine emission material with any material you want, using Mix Shader Node and apply your mask into Mix Shader factor (see on screen) Hope it is what you were looking for...


Showing Camera Solve Error

At 30:47 in the tutorial, Andrew shows how to calculate the Camera Solve Error:

Tools panel →  Solve section →  click Camera Motion botton
(This button is shown highlighted in green below)
The Camera Solve Error is then shown on the Movie Clip Editor header on the far right
(As shown highlighted in orange below)

Troubleshooting

Here are a few points to check if the Camera Solve Error is not displayed:

Note that before you can get the Camera Solve Error, you must track all the tracking markers by clicking the Camera Motion Solve button, as shown at 22:48 in the video. Here are some points to make sure you notice:

First, make sure your green frame cursor on the Timeline window is at frame 1:

Then, select ALL of the tracking markers (select All by pressing A until all the markers are bright yellow, as shown below)
Then press the Track Markers (Forward) button, highlighted in green:

You should then see it track all the markers like this:

One thing that might be confusing about that tutorial video is that at 28:26, there is a break in the tutorial where a section of the video has been deleted/removed from the video. At that point, the tutorial maker, Andrew, has done some things, including calculated his Camera Solve Error and then come back to finish the tutorial. So, at 28:27 when the video picks back up, suddenly there is a Camera Solve Error shown:

If you had been following all the steps of the tutorial up to there, you would NOT have a solve error displayed there -- the tutorial doesn't describe how to do that until 30:47, as explained above.

So, this might explain why you see it appear "magically" -- just ignore that until 30:47.


So "this just works" when rendering with Cycles, but Eevee requires a bit more setup.

Try the following settings:

Render → Screen Space Reflections ON
Render → Screen Space Reflections → Refraction ON
Material → Surface → Principled BSDF → Transmission 1.000
Material → Surface → Principled BSDF → Roughness [Cycles Only]
Material → Settings → Blend Mode OPAQUE [or ADDITIVE]
Material → Settings → Screen Space Refraction ON
Material → Settings → Refraction Depth PLAY WITH IT

You can also check out the documentation for:

Principled BSDF shader node
Eeve materials settings

You should get something like this in Render Mode, I didn't have the patience to model a teacup, so the default cube is all you get :)


You could use particle systems, there's an option to use a group as particle pool, with pick random option.

Just set up a group with all your predefined container arrangements.

The downside is you wont be able to have each container as a singe object directly, and you have to manually change the seed for each instance.


How big can i make the "world"/animation set?

You can technically make the scene infinitely as large as everything scales linearly. as you start getting up to a large scale you might start running into clipping issues with the camera however this can be adjusted by adjusting the end clip of the view.

However it's not recommended to scale things up more than needed as translation and scaling starts to get a little weird especially when you add cameras to the mix.


Strange artifacts during camera transition when rendering movie

It seems like the motion wasn't estimated correctly. As a workaround you could try to set the GOP Size (Keyframe interval) so that a keyframe is set when the movement starts.

This seems like an encoder/Blender bug. If such errors occurred at multiple times you could encode with a lossless video format and use one of the many third party video converters as a second step. Possibly with multipass encoding enabled.


I think the short answer is that the image plane is indeed being taken into consideration.  I checked that by altering the colors of your image so that the butterfly is white instead of pink.  In this case, the glare node does affect the butterfly.

I think your best bet is to really crank up the strength of the emission shader for your butterfly (I tried 200), which will give you the glare. If you want more control over the color of the butterfly image itself, you could experiment with render layers--use one layer for the butterfly image to be "glared", another layer for the color to be composited over top.


Sharpen mesh curves by dissolving vectors

In situations like this, Select Similar can save the day

As your intuition hinted to you, converting it to a mesh first (AltC) and dealing in vertices is the best approach.

(I'm including all keyboard shortcuts to be friendly to a general audience.)

Once that is done, in Mesh Edit Mode Select All with A and press W to Remove Doubles.

Then Extrude (E) upward on the Z axis (Z) so that you will have some face angles (I know, it's unfortunate that it doesn't work with edge angles).

With one corner edge selected you can then select all the 90-degree angles using Select Similar (ShiftG).

Add these selected corner vertices to a Vertex Group so that you can re-select them later. (Click the "+" button to create a new group, then the "Assign" button)

You can now delete the vertices that were created during extrusion. Selecting them from the front or side orthographic views and use Border Select (B). then Delete (X).

Use the trusty Vertex Group you created to call up the corner vertices. (Click the "Select" button)

Then invert your selection using CtrlI to select everything that is not a corner. From there it's just a matter of hitting X and choosing Dissolve Vertices.

Here is the result:

That concludes the solution for right angled corners.

For any regions that are not right angles, you can select their vertices separately and Remove Doubles (W) with a high Merge Distance threshold.

(You may want to avoid selecting the outermost vertices, because if they are collapsed during the merge operation the angles of the walls they comprise would change.)

Merge Distance can be set in the Operator Panel, so make sure it's visible (you may need to press T and drag that window area up from the bottom if it's not already visible).

The result after removing doubles at an increased merge distance:

In the above example, if you needed to eliminate the very short edge segments that remain, you could perform an Edge Slide (GG), slide the selected edge all the way toward the longer walls, select all relevant vertices, and Remove Doubles (W).

Each use case will of course be a little different, but with the tools I've described and a bit of ingenuity you should be good to go.


You can select 2 vertices and create an edge as shown on your screenshot.
Then active edge selection mode (2), and spam F which creates faces until the end of the spline is reached. Select the whole spline by pressing L (Select Linked), then remove all faces (X, Only Faces)


How can I configure blender to import a custom mesh from the shift + a add mesh menu?

An existing solution
There is the Asset Flinger Add-on which might be interesting to you.

(....) Free Blender Add-on for simple mesh importing via graphical menu. It's aimed at 3D modellers who constantly import pre-made 3D assets from their libraries for building their highly detailed creations.
The Add-on also includes a drag-and-drop thumbnail generator for .obj files for Windows and Linux (....)

Make your assets, save them as .obj and go through the instructions for making thumbnails. All instructions can be found on that link.


Restore last windows arrangement in single/multi-monitor setup

As CharlesL pointed out, the UI layout is saved in the .blend file.

Setup your windows as desired.
File > Save Startup File (shortcut Ctrl + U).

When loading files uncheck the Load UI option to prevent the layout changing. This can be made the default by disabling said setting under the User Preferences > File tab (shortcut Ctrl + Alt + U).


Mesh becomes pink in weight paint mode every time middle mouse button is clicked to rotate/pan view

This might not help at all but, usually pink refers to when you have enabled but failed to define a texture or lighting file. I just remember when inputting an hdri lighting source for my scene things went pink. I would just check to see you didn't apply anything in scene or texture or any of other tabs that has an input to import things you aren't using.


Join as Shapes

If the two object shares the same number of vertex and similar same edges & polygons list, you should be able to convert a "target shape object" to a Shape Key for an other object.

Obiuvsly "good" results are achievable only if they have matching topologies (e.g. a T shape will not easily became a I even even if the vertex count is the same), but your case seems one of them.

First of all you should create a "basis" shape key for wanted object, just for safety.

After that, pick the "target shape" object and then the other object.

In the drop down menu as shown in the picture above you can find the command that will add the selected object's active shapekey (the basis in this case) to the active object.

Raise the Shape Key influence factor in order to see the change of vertices coordinates.


How to add an Image to a plane that has a boolean modifier applied?

I'm not 100% sure it's clear from the questions what your aim is.

Asuming you'd like more control over how images are displayed on the final object I'd go with one of two options:

Apply the boolean modifier and work with separate faces in Edit mode
Use the same material to both planes (bool operands) but have different UV mappings for them, so that you can use separate areas of your image to texture the final united plane.

In the example below I did this to both planes with the same image texture applied (same material). However, one plane has UV square on the left side of the image while the other plane has UV on the right side.

You can hide the second plane and the final object would still look the same.

You could do different things then:

Shrink one of the UVs to a pixel sized square and locate it over the needed color to have a mono-coloured part

OR

Scale UV by -1 to reverse the mirror effect you have on your screenshot.

Hope this helps.


Any way to use the timeline markers as input list?

First, we should get the frames at which the markers are set, to do this, we can use this list comprehension:

[marker.frame for marker in bpy.context.scene.timeline_markers]

Which returns the frames at which the markers were set:

Next, I am going to subtract the current frame from this list, now all the markers that have frame values less than the current frame will have negative values. If I max the output with zero, all the values that were negative will become zero. If I "not" (Invert) the result, all zeros becomes ones and non zeros becomes zeros. If I sum all the values of the output, I will get the number of markers that are before or at the current frame. I can now use this output in a Trim Text Node to show the characters:

Which results in:


Loops are generally programmed "in place", having the feets sliding on the floor, and then a forward motion is applied to the whole armature, to simulate a real walking. If you don't want to follow this scheme, you will have to to set keyframes to have your character "jump" forward every frame your animation "jumps" backward. If the loop works the amount of movemente will be always the same, so the programming will be easy, even with long walks.


How to move 2 cube at the same time? New to Blender

Your code seems to work for me - one cube rotates around the other (which remains stationary at the origin). The only issue I can see with the code is that the initialisation to add the cubes refers to 'Cube' and 'Cube2' but the later logic refers to 'Cube' and 'Cube.001'.

I suspect the most likely cause of your issues is that you have run the script multiple time and, perhaps, an earlier copy of your code is still registered in the handler. Try saving your work (after changing 'Cube2' to match 'Cube.001'), closing Blender, and re-opening and running - and see if that resolves your problem.


How do I include depth when selecting vertices in a specific area?

Switch to wireframe mode (Press Z and select wireframe from the pie menu). Can also be toggled from the top of the Viewport. Alternatively, you can also toggle X-ray mode from the same area of the viewport:


You can redo the array and curves modifier combos: Here is a blend file with the setup (you just need to change one monkey, everything will change automatically since its non-destructive):


Sure, that's the whole point of shading, you create noise patterns and then use them to guide blend or strength input parameters. Here a example:

Separating Uv coordinates makes a gradient in the chosen direction, add centeri it in the plane and then mix it with a noise on linear light mode. Then use that to guide any blend or parameter. 1 of the millions of ways you can mix values to generate masks, the core technique of shading.


The images have to be named with the same base name followed by a number.

The simplest way to import them into blender is to use the Import Images as Planes addon.
File > Import > Images as planes.

Select the images you want.
Press N or click on the gear icon on the right of the window to enable the options and select Animate Image Sequences

Or manually add an image sequence node Add > Texture > Image Sequence. Set the number of frames and start frame.
Then just enable Auto Refresh.
To have the images on a loop, use Cyclic


How to add a vibrance value to a render in post processing

go to compositing.
turn on show nodes.
press shift+A.
search hue.
it will come up.


The problem was that I was trying to do a cloth simulation inside a scene with several objects already inside.  Many people had the same problem in the comments on this video:

Modeling with Cloth Simulation in Blender

The trick was to do the cloth sim in a different scene and then import the mesh into the scene you want to use it in.


How to make particles a different color depending on which side they’re on?

The color ramp factor can be based on the velocity info of the particle system. Or you can use "Object info" >> "Location" or "Geometry" >> "Position" as an input, but those are based on the world coordinates, so they will work only in the Origo.


Material that emits light, but appears diffuse?

Use the Is Camera Ray output of the Light Path node to mix the shaders.


Problem with blending 2 UV Maps with Tiled Textures with a 3rd Layer

Does something like this work for you? If you want to blend the textures, you can use gray instead of Black or White;

Different Shader on same label

Note: While this uses nodes in Blender, you should be able to blend textures in your game engine using a similar process, and the textures you create in blender would carry over.


Is it possible to overlap two identical Uv Islands in order to create one complete mesh?

Have half of your mesh with UVs done.*

Bake your stuff.
Mirror your model.

Your UVs will be overlapping but not at the time of baking. If you bake while overlapping Blender will get confused and want to put two images (even though they're exactly the same, Blender doesn't know that) at the same place and that's why it comes out weird.

*If you already have your UVs overlapping, applied the Mirror modifier and rather not delete half of the mesh to mirror it again, then you can select one of the halves' UVs, scale them super small and put them in a corner, like this:

Bake your stuff and then ctrl + Z so that the UVs are overlapping again, but your stuff is already baked.

Short answer: Overlapping only causes problems while the baking process happens. Bake only half of your model and then overlap the UVs.


Add a filter for the extension of a file in the file browser

Unfortunately this isnt documented, however it is used in the templates that come with blender, see Text -> Templates -> Python -> Operator File Export, there is a filter_glob string property.

eg:

filter_glob = StringProperty(
        default="*.txt;*;*.py",
        options={'HIDDEN'},
        )


It looks like you have some duplicate vertices and/or faces in your model. The first thing to do should be to remove your duplicate vertices. In Edit Mode, select the entire mesh by pressing A. Then, press W and click "Remove Doubles". This should help to clean things up. If this doesn't fix it, make sure that you are using the Bevel Modifier before the SubSurf modifier. This will prevent your SubSurf modifier from destroying your topology. Since you have a cylinder, you want the "curved" faces sub-surfed, but not beveled. To do this, set the Bevel Modifier limit method to "Angle" and set the angle to something greater than the angle formed between two of the cylinders sides (probably about 15 degrees). To get a cleaner bevel at sharp corners, set the width method to "Width". To get the curved effect in your reference image, increase the Bevel Segments and Profile. It should look like this:


How would I discover an operator's name?

If you right click on nearly any button, tool, or menu item in blender there will be a link to the blender python API for that button.

Link to blender python API for bpy.ops.mesh.separate


How to Model Smooth Models for Games with Low Poly

I've worked with various games engines for about 18 years now so I'll try my best to answer your questions.

For something kinda small like that I'd say 200 tri's at the very most. 2-5k is a LOT for a cup considering that weapons tend to be about 2k max. Also creating good levels of detial (LODs) might help a lot as well but I've not really worked that much with UE4 so not sure if people even do that for this engine.

I suggest looking into something called retopology. You basically take your high poly model and then draw your low poly over it making sure to have good topology. It's not super important for non-animated/rigged things but it's good practice. Here's a nice tutorial that demonstrates how to do it and the add-on is free. It'll help you greatly! What software are you using for your texture work? looking into texture baking would benefit you greatly as well, AFTER watching this video.
Blender 2.9 Retopology Getting Started

You won't have to remake textures and normal maps for the LOD's as the LOD's use the texture information of the model itself and, let's face it, from a distance you can't really see normal maps anyway.

If you need further help just ask ^.^


2.8/Grease P/How to rotate only a few strokes by the Cursor?

My 3D Cursor was not showing, this is what was confusing me.
Thanks to dan2 from blenderartists to demystify this.


Set minimum distance between hair particles

After researching a bit further, it looks like this is not a built-in feature for Blender. Although there are some workarounds to sort of achieve the effect that have been mentioned in the comments, the solution seems to be an add-on:

https://blenderartists.org/forum/showthread.php?233643-Addon-Moleculars-physics

http://pyroevil.com/molecular-script-download/

Here is a quick GIF of me doing particle collision with the add-on (I am on a Mac, so I am using an older version):

This question is very similar:

How to correct collision between particles


How can I view a cross section of 3D objects?

Use booleans. Create the object that you want to cut. (Make sure it is one mesh), and add a Boolean modifier. Then create another object. This will cut out of the original one as the Boolean will calculate the intersection between those two and remove it. Now all that's left to do is move the cutter to where you want it to be, and then hide it from visibility.


You could use a Lattice modifier, it works fine with beveled bezier (just keep in mind that when you create your lattice, adapt its size to the object in Object mode, not in Edit mode):


How do you get a low poly exterior from a high poly model?

i had models like that too before i was able to create my own projects... here's how i made most of them usable...
to connect the vertices, simply select the coplete object in edit mode. then hit OBJECT/VERTICES/REMOVE DOUBLE.
to reduce the size (# of vertices), switch to OBJECT MODE, go to MODIFIERS and select DECIMATE. there choose for UNSUBDIVIDE if the model is created mainly in quads. change the ITERATIONS value until the model still looks acceptable and hit APPLY.
if the model is created in tri's, choose for COLLAPSE and change the RATIO value (in OBJECT MODE) until the model still looks acceptable and hit APPLY.
hope this helps


Don't add polygons for the sake of having more polygons, you are looking for a special shape. So would do better having a really simple shape to start with, bevel the edges that you want to be sharp and then apply a subsurface modifier. Add loopcuts afterwards if you need more details.


How to assign a keyboard shortcut for a mesh selection mode?

In Edit Mode press Ctrl+Tab to open a Mesh Select Mode pop up menu. Hover the mouse cursor over a selection type you want to add a shortcut to, press RMB-->Add Shortcut and input a desired keyboard button.

You may change or remove a shortcut in the same way.


Proportional editing is available via the "O" shortcut, or through the menu button as below. The mouse wheel controls the area being influenced (circle indicator in 3rd picture).

[


Material "Base Color" doesn't change when "Use Nodes" selected

You probably have the solid display button on and haven't pressed the render button.  In the video you mention there are several buttons at the top right of the 3d viewport that are associated with overlays and displays like wireframe, solid, lookdev, render, and shading -- note that the render button, just to the left of the shading drop down menu, is turned on.  BY the way, on my 2.8 beta version all those buttons are at the bottom right of the 3d viewport.


First Enter editmode then choose the face you want ,and in the material
section press plus and under it press assign and the new material will be the applied only in the face selected.


Is There a Good Way to Change Many Joined Meshes in Order to Make One Mesh With No Inside?

No garantee it will work but you could try to boolean.
First make sure you don't have holes, select all in Edit mode and Mesh > Clean Up > Fill Holes (set the values in the Operator box):

Then select all your meshes except one and press CtrlF > Intersect (Boolean), and again choose the right settings in the Operator box. If the meshes are closed it should delete all inner vertices:


Rigify Button when i try to generate weights it moves mesh and dispach part of it and in general doesn't work

The problem with parenting is that your Character objects already have some sort of parenting. Select all meshes, press Alt+P > Clear and Keep Transformations. -There is another problem with your meta rig. The 3 bones of the arm are: upper_arm, lower_arm, hand. Yours are aligned as shoulder, upper arm, lower arm. This will create weird deformations.


Cutting a solid surface to make a overlapping junction

You could use a Boolean Modifier. Though, the success of this method may depend on the topology of your mesh. It does not always give clean or desired results, but it may be worth a try.

Also you will want Solidify to be above Boolean in your modifier stack. And if you apply these modifiers, apply the Solidify first, and then apply the Boolean.

EDIT:
You could make something like this, where the selected mesh is the (already applied) Boolean target object.

If you put the selected orange edge, shown on the left, (one is extruded inward, and one extruded outward) in in the middle of the solidified wall thickness, and then preform the boolean operation, you will end up with submarine parts that will fit into each other as shown on the right.


I pressed P and I don't know what happened

P used to be the key to start game mode.  I think they unbound it in recent versions to prevent people from having this problem.  (yes, I also fell victim to that once; and the Shift+Space toggle).

I agree with all the comments suggesting the Esc key as a possible remedy.  (although it won't get you back from Shift+Space; another Shift+Space does).


It's very useful for rigging. Most of the time before the actual rigging you would want your rig bones inside mesh (probably around the center), but actually getting bones inside could be a problem that often requires moving around ortho views and dragging bones on 1 axis at at a time. With this snapping you can select joint and snap it to around the center  of arm or leg, do it for other joints, fix rotation and that's about it. Thought it doesn't work that well with complex shapes like hips or shoulders.


Character mesh becomes transparent or reversed when I import it into unity

The normals on the object are flipped.
To visualize which normals are facing in or out, enable the option in the 3d viewport overlays > Geometry > Face Orientation

Blue faces are pointing out, orange are pointing in.
Or you can use overlays as well to display face normals.

Normals are displayed as blue lines, and you can choose the length of the lines.
To flip faces, select them and press Alt+N and select flip normals, or recalculate outside.


Camera focal length settings to match a Kinect

According to the specs found here the Kinect has a horizontal viewing angle of 57 degrees.

Set your camera accordingly in the lens section:


How do I make normals visible on both sides of a model?

You should simply add thickness to your walls, as they said in the comments, you don't have walls made only by a plane in reality, so the fastest way you can adjust your model is by using the solidify modifier just add as much thickness as you want and you should have something similar to the first picture; as you can see, this way you have normals on every side. In the second picture you can see where the thickness value is and all the other values you can play with in the solidify modifier.

Difference between solidfy and no solidify:

Solidify modifier:


"skip" renamed to "frequency" in BGE logic bricks?

The frequency parameter was only renamed to skip in 2.75 as documented in the release notes.

  "Frequency" parameter is renamed to "Skip" in the Logic Brick sensors as it represents skipped frames between pulses.

It still does exactly the same thing, controls how often the logic brick can run.


Fluid simulation : sometimes not properly baking?

Did you change the fluid cache? There's an option to change where the cache is outputted (under Physics in the domain object), and if you change the parameters and bake again without changing the cache output, it can cause glitches in the new bake, because of the discrepancies between the parameters you changed and the parameters set in the cache from the previous bake.


Why don't my objects reflect in the base plane?

Check the Ray Visibility settings for each of your block objects.  If glossy is unchecked, you won't see the object in reflections.


Go to Properties>>Render>>Dimensions>>Resolution.  Make sure the X and Y are set to the same value.  Also make sure that the aspect ratio for both X and Y is set to 1:

As @cegaton mentioned: https://blender.stackexchange.com/a/23409/38953


create bounding meshes that have box shape

I think, if i understand what correctly what you are asking, you should maybe try the remesh modifier set to "Blocks".

The effect will be the following:

You can adjust the depth and scale to get different size blocks.


You can use the knife tool K to draw a gap.  Then you can do it with two different ways.

Just manually delete the the faces you drew and fill the inside.
Or you can use default add-on named loop tool. You can enable it in preference section. Just select the top and bottom face and apply bridge in loop tool.
Hope that helps.


How to get a row of single-file particles?

Instead of using particles, 4 array modifiers might be better.

Model one triangle, copy and rotate it 90° and give each one an Array Modifier.

Duplicate for the other sides. You can duplicate with ALTD instead of SHIFTD if you want to change the shape of your teeth later.


How would I get this 3 tone lighting effect for edges?

You can try this - I'm not sure it will give exactly the look you have, but it's the closest I can think of.
Start by giving your object a Wireframe Modifier (I made mine extra large in the screenshot so it stands out more). Make sure to un-check "replace original" and set the Material offset to 1 - this will allow you to assign a different material to the wireframe than what's on your base object.

Then make sure your object has 2 materials - a base material, and a wireframe material. Make the base material whatever you want, but make the wireframe material look something like this:

Obviously you can adjust the ColorRamp to play with the colors. I've also tried other combinations using a Vector Math node and adding inputs such as a "Facing" from a Layer Weight node, which gives some interesting results, but I'm not sure if it's what you are looking for. Maybe use this idea as a base, and play around until you get something you like. (As a head start, try using a Vector Math node to multiply the Normal Vector by the Pointiness factor.)


Baking a Fluid at 150res crashes, but baking at 300res doesn't?

The issue with the extra ram usage comes from the tubing you have the inflow located inside. While the rest of your scene appears to be simpler than the glass simulation, this pipe as an obstacle around the inflow object is where blender is having trouble. It appears that the biggest issue is the bend in the pipe.

For a solution, cut the pipe as it passes into the domain and disable the fluid obstacle settings for the pipe outside of the domain.

The easiest way to do that would be to select the end of the pipe and the next edge loop and use P->Selection to separate the end into a new object.


Suspended particles inside a material (procedural)

For your purposes, a particle system based setup will work best as any material will cause the grains inside to appear very flat.

Starting with your blend file, on the object Cylinder.001, under Particles > Emission, I set these values:

End: 1

Emit From: Volume

Distribution: Grid

Distribution Resolution: 5

Distribution Random: 1

Now we have an object filled by volume with the grain object. Don't worry that some of the grains are outside the object, we will fix that.

Under Particles > Rotation, I ticked the Rotation checkbox and set the Velocity/Hair Random to 1. This will make the grains appear to have frozen in random floating orientations.

Next, we're gonna need some room to work with our particles. So, with your object selected, press M and click the next open layer to move your object there. Then press 2 on your keyboard to go to that layer.

With the object still selected, go to the Modifiers tab and under the particle system modifier, click Convert.

Now all your seeds are individual objects. In solid 3D view mode (Z), check the outside of your object and just manually delete any remaining grains that accidentally protruded the mesh.

Next, select your cylinder and hide it with H. Using B, select all your grains and press Ctrl + J to merge them into one object.

This will make them much easier to manage. Unhide your cylinder (Alt + H), and with both the cylinder and grains selected, press M and select the original layer to move them back. If you are planning on making your objects move, you can parent the grains to the cylinder with Ctrl + P.

You will discover on your first layer that Blender also expanded your original grain object with the particles. You can either choose to move this object to another layer, or hide it with H.

Here is the result:

Not bad, with the existing node setup. Please note that I disabled depth of field for this render. For a clearer icepop, you can fiddle with the balance between the translucent material and the glass material. I might also experiment with mixing in some subtle volume density or subsurface scattering for a more photorealistic render, but I do not have the time to test right now. Maybe someone else can comment on better ice-pop materials?


How to use numpad / on a keyboard without a numpad?

When Emulate numpad is enabled in User preferences > Input, \ (often the key below the ⟵ Backspace key) will act as numpad /.

Blender 2.8x

Blender 2.7x

Emulate numpad will also make the number row above the main keyboard act like the numbers on the numpad.


Render_pre handler should run operator with transfrom_apply

First see this and compare it with your code:

import bpy
from mathutils import Vector

# call this only once
# it adds vector attribute to all Object entities
bpy.types.Object.vector = bpy.props.FloatVectorProperty()

# design your callback function like this
def test(scenes):
    # select the group
    bpy.ops.object.select_all(action='DESELECT')
    for obj in bpy.data.groups['Würfel'].objects:
        obj.select = True

    # apply rotation
    bpy.ops.object.transform_apply(location=False, rotation=True, scale=False)

    # store the locations
    for obj in bpy.data.groups['Würfel'].objects:
        loc = obj.location
        obj.vector = Vector((round(loc[0], 0), round(loc[1], 0), round(loc[2], 0)))

If you do a test call with test(bpy.context.scene) it should execute without errors.

If you do bpy.app.handlers.frame_change_pre.append(test) it will work fine on every frame change.

When the objects go into render pipeline the transformations are already 'set/converted' so there is really no data to transform in the pre_render handler.


How do you download or save a texture of a mesh

If you're talking about image textures you can save them in a folder: go in the Image Editor or UV Editor > Image > Save As:

If your image is packed, meaning it is part of your file and not in a folder (to pack an image, go into the Image Editor or UV Editor and Image > Pack, to pack all your images go into File > External Data > Pack All Into .blend), and you don't want it to be packed anymore you need to go into the Image Editor or UV Editor > Image > Unpack and either create a new folder or use the file's folder. To unpack all the images, go into File > External Data > Unpack All Into Files.

Now if you want to use this image in a new project, you'll find it in the folder where you've saved or unpacked it.
Another solution, that doesn't need any Save As or Unpack is to open your new project, go into File > Append, open the file that has the image texture you want, open the Image folder, and select the one you want:

Also there will be soon an Asset Browser window that will allow to visualize and import all sorts of datas. To make your image texture an asset, go in the Outliner, switch to Blender File mode, select the image, right click > Mark Asset:

If you open the Asset Browser window and in the left column select Image & Sounds you'll see your image:

Now open your new file, open the Preferences > File Paths > Asset Libraries > choose the folder(s) where you've saved the previous file(s). All the assets that have been saved in the files that are in this folder (or folders) will be available in the Asset Browser > Default mode:


why are the edges of uv unwrap blurred? and how to fix

The blurred part in your image is create around the outside of boundary of each UV island when you bake. It is called the margin, and is used to hide/minimise various texture sampling errors that can occur around seams in some renderers.

You can control the size using the margin setting in the bake settings panel under output (in your screenshot it is set to 16px).

You may need to reduce this value if your image is low res or your islands are very close together to avoid overlap.

You can also control how much space there is between your islands when you make your UV layout, see https://docs.blender.org/manual/en/latest/editors/uv_image/uv/editing/unwrapping/mapping_types.html


Mask image loaded in UV Editing window doesn't show up under Gaussian Blur modifier mask source in Video Editing tab

You have opened the UV editor window

Open image editor window, shortcut Shift + F10
At around top there should be written something View(next to Image Editor button), click it and change it to Mask
You can then create a mask by clicking +     New button.


Change your transform orientation from Global to Normal then grab the vertex with G and restrict it from the local normal Z-axis by holding Shift and pressing Z


Is it possible to use curve modifier without stretching these holes?

You can replace the curve modifier by a simple deform modifier.

The point of interest is to augment the second array count until the holes stretching disappear.

Thanks to the deform modifier this is much more easy to tune than the curve modifier.

So:

Add an empty at the same X,Y location than your grid.
Add a simple deform / bend with an angle of 360 and turning around Z. Set the previous empty as origin.
Rotate this empty 180 around X.

Now tuning:

Augment the second array count to 180 (or around that).
The simple deform will make a larger ring.
But you can now scale it in X, Y (not Z) to readjust the shape to the speaker diameter.

You can see above:

The result
The added empty
The scale given to the grid
And the added simple deform parameters


Change color of edge Length Marking in Blender 2.83

Per Mr Zak who provided the answer to me in the comments above, I'm posting the problem and the solution I found via his help.
Problem: I had previously changed the colors of various elements in the 3D view port, because I wanted to print the model with the dimensions as I was going to physically build the model (At the time, I did not know I could simply change the theme to print friendly which would have been the best option).  Sometime later I opened the file again to do additional work and found that I had changed the Edge Length Text to a deep purple which was not visible with the dark gray background.
Answer: Mr Zak provided two answers, which led me to how I could correct the problem.

He suggested I install Measurelt an add on in the Blender program.  I used the search function in the add on and typed in Measurelt, which returned zero results.  Had I taken the time to type more slowly I would have seen that it popped up until the entire word was typed at which point it became zero results. Measurelt is actually located in the 3D View: Measurelt section.  You don't even need to type anything in the search because it is located near the top.

Changing the default colors.  There are so many options that can be changed, that to the novice it is overwhelming.  It was great of Mr Zak to steer me directly to the point where I needed to look "User Prefs > Themes tab > 3D ViewPort > Edge Length Text". There are two sections dealing with Edge.  This option is in the second section so you have to scroll further down to see it.

A much better option to use if you don't like the colors or if you need it to be printer friendly, is to select from the preset options located at the top of the Theme Options window .  It is easy to switch back and forth between themes.


How to create a rubber sheet with ball bearings causing indentations

Though I'm not completely sure I understand exactly what you're trying to illustrate, I believe I've found a solution with Animation Nodes. While Animation Nodes has a bit of a learning curve, it can help you produce very precise, procedural results. I think this will be a better solution than simulation. First, download and install the add-on in the link above.

Once the add-on is installed, create a new Animation Nodes tree in the Node Editor:

In Animation nodes, you can add nodes two ways. The first is with Shift + A, which brings up the normal menu. If you are unfamiliar with the nodes, they can be hard to find, so you can search for nodes with Ctrl + A.

First, we need to make a plane to represent space. Add a Grid Mesh node. the $X$ and $Y$ divisions represent the number of vertices, not faces, so we'll need to add $1$ to the dimensions that we want. Let's do $25$ by $25$ units, and $101$ by $101$ divisions. We'll add an Integer node so we can set both Divisions at the same time:

In order to view the mesh we are creating, add a Combine Mesh Data node and a Mesh Object Output node:

Next, let's add the bearings. In the 3D View, add $3$ Empties. I chose the Single Arrow display type and set the Radius to $5$. In the N panel, lock the Z-axis location. Select the $3$ Empties and press Ctrl + G to group them. Name the group Bearings:

Add an Objects from Group node and select the Bearings group. Now, add an Object Controller Falloff node. Set the mix type to Add. Since the bearing's radius is $0.125$, set that as the Offset value. Experiment with the Width value to find something that depicts what you want. I chose $1$. Now, the most important part is the Interpolation. Since gravity has an inverse square falloff, my guess would be that you want the Quadratic option. You can visualize interpolations with the Interpolation Viewer node. You can also create a custom interpolation with the Curve Interpolation node:

To apply the falloff, add an Offset Vector node. Enable the list input, and plug in the Vertices list and the Falloff. Set the Z-value of the Offset to however deep you want the ball bearings to go. I chose $5$:

Result:

Now, let's add the upward curvature. We'll do that with two Directional Falloff and Interpolate Falloff nodes, a Mix Falloffs node, and another Offset Vector node, configured accordingly:

Now we have 3 "ball bearings" with a gentle upward curvature. You'll notice I made the upward curvature Quadratic, but that can, of course, be configured differently.

This is the bare minimum, but I want to go a little bit further. Let's draw a grid over the top, so that it renders cleaner. We can do this by creating Splines (curves) that follow certain edges. First, lets create a script to select edges. Add an Expression node, and plug in the Edge Indices list from the Grid Mesh node, the Integer node that sets the number of Divisions, and another Integer node. Name them according to the picture below. Use the gear icon to set the output type to Generic List. Paste in the following code:

[x[i*(n-1):(i+1)*(n-1)] for i in range(2*n) if ((i<n) and i%o==0) or i==n or ((i>n) and i%o==1)]

This code will isolate every o runs of edges in the grid, so this currently gets every $10$ edges of this $100$ by $100$ grid. To turn these into splines, we need to loop through every run and join them together. Add a Loop Input node and give it a Generic List iterator, a Vector List parameter, and a Spline List output.

Add a Convert node to change the Generic input to a Edge Indices List. Then add a Splines from Edges node and a Connect Splines node:

Add an Invoke Subprogam node and a Curve Object Output node, configuring settings as shown, and you should have a wireframe.

To make it look a little nicer, crank up the Divisions and adjust the Bevel Depth:

^^^ $501$ divisions, gridline every $10$, Bevel Depth of $0.4$

NodeTree:

Gif:

Rendered Result (two sets of overlay lines, thick lines every unit, and slim lines every $\frac{1}{4}$ unit):

With transparency:

Download the .blend (requires Animation Nodes):

(Plane divisions turned down to $400$ to fit on Blend-Exchange)


The pivot of an image will always be at the origin, which Blender defines as the bottom left.

The trick to moving the pivot is to actually move the image first, so that the point in the image that you want to be the pivot is over the bottom left (the actual pivot), then do your rotations, and then move it back where you want it.

The lighter orange area is the actual UV space (0-1), the darkened part is outside the UV space but still useful to visualize what's going on.

Notice how the first mapping node's location is negative, and the second mapping node's location is the same but positive.

0.5 is used here to place the pivot in the middle of the image, though you can use whatever values you like as long as they're the same for each mapping node, but inverse.


I lost an object i have been working on for hours, how do i get it back?

Please press ⌥ Alt + H to unhide, or check if you accidentally moved it into another layer, or switch between object and edit modes.


When selecting the active object use the Ctrl + Click instead of Shift + Click.


That looks like the hair strands that are on top of other hair strands are shadowing the ones underneath. Try adding more light bounces for transparency (In the Render properties tab, Light paths, Max bounces)


Mesh being deformed in a weird way by armature

You have too much influence on the other side of the joint.  If you remove some or all of the bone weight on the vertices opposite of the joint, you should see this particular issue mitigated.

However, joints that bend over 90 degrees or have complex movement are difficult to rig in general.  You can mitigate this some with topology that takes the movement into account, see this polycount wiki for examples: http://wiki.polycount.com/wiki/Limb_Topology

Your character seems to be designed to be somewhat...noodly... so you might want to consider having an elbow bone to smooth the bend and preserve that style.


Using curves you should be able to do something similar.

On top view add a curve, give it some extrusion and depth. Enter edit mode and align the control points by pressing SY0.
Exit edit mode and rotate the curve 90 degrees on the x axis (RX90) Go back to edit mode and manipulate your curve by adding points (Ctrl RMB and manipulating them you can get any shape you want.


Vertex count increases drastically when exporting to .FBX

I would generally blame the fact that many programs hate quads (not without reason; graphics cards usually only use tris, so it splits them into tris, regardless). However, that shouldn't change your vertex count so drastically since it's only changing face count, and should retain the same number of vertices. It seems likely, then, that you have some sort of modifier in place, subsurf is the usual suspect, that hasn't been applied. Try applying all your modifiers before exporting, and see if this solves your issue.


How do I expand the Preview or Render range in the VSE?

You can set the Preview or Render range by using these functions in the View menu:

Or use these values in the Timeline header:

The button with the alarm clock will let you switch between Preview and Render range values.


Every time I add a new mesh it goes behind the background image, how to make it on top?

New objects are created at the location of your 3D cursor. You can Shift+ Right-click to position your cursor. Alternatively, edit its 3D corrdinates in the 3D cursor popover menu:


Is there a way to "push" other clips in the VSE?

For your particular case you can press Alt←.

Alt← and Alt→ swap the selected strip with the nearest strip in the direction of the pressed arrowkey.


Blender Cloud textures for commercial purposes

All textures are licensed as CC-0. Free to use anywhere, for any purpose.

From: https://cloud.blender.org/p/textures/

The person who associated a work with this deed has dedicated the work to the public domain by waiving all of his or her rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law.
You can copy, modify, distribute and perform the work, even for
commercial purposes, all without asking permission.

From: https://creativecommons.org/publicdomain/zero/1.0/deed.en


Cannot build blender from source on ubuntu 16.04 (Error at CMake Compile)

I ran sudo apt install libpng16-dev and sudo apt install libjpeg9-dev and blend was successfully compiled.


I could fix it with different light resources, sun instead of spot, larger radius.
Problem:

Solution:


Blender 2.79b Crash: A single object causes the crash, no fix

From your trace it appears to be a problem with the modifiers - possibly resulting in either too many faces (so exceeding the available memory) or producing geometry that is causing Blender to hit an exception and abort.

If the problem is due to Subdivision Surface producing too many faces then you may be able to work around the problem by setting Simplify settings in your Scene properties panel before you import your object into another Blend file.

If the problem is due to the rendering in the 3D View then you may be able to open the file by disabling the 3D View on opening. This can be achieved by opening Blender (without loading a file), change the 3D View window to something else (eg, UV/Image Editor), go to File/Open... and uncheck the Load UI option in the tools panel on the left before selecting your file to open. This should open the file while retaining the current UI windows (eg, UV/Image Editor) so Blender does not try and render the scene in the viewport.

You could also try using one of the more recent development builds of Blender - eg, 2.79.6 - as these do include significant enhancements and bug fixes, especially to some of the Experimental features (such as True Displacement) which could potentially be causing issues.


How To: 1 Bone Moves Entire Arm, While IK Bones Can Bend Arm

I think I found my own answer.
If I keep my target far enough away from the arm bones, the arm will stay stiff.  I could animate it that way, by moving it, say, 1.5 m away from the arm on its local Z axis.  When I want to bend it, I can move it in closer on the local Z axis.
Whether this is an efficient method, I don't know, but I think it will work for me.
I am going to leave this question open for other suggestions at this time.


Some faces of your hat mesh are badly oriented. Select all in Edit mode and press ctrlN


I had 'Proportional Editing Mode' set to ON, which caused the problem. When I switched it OFF, it all worked as intended.


The bevel appears distorted because the mesh has non-uniform scaling.

You probably scaled the object along a specific axis e.g. S > X. If you instruction had done this in edit mode, the scale doesn't change, but if one scales it in object mode, the scale will remain unapplied non-destructively. The visual appearance is the same. You can apply the scale in object mode, then return to edit mode and bevel.

Leave edit mode and go into object mode ↹ Tab.
Press ⎈ CtrlA and choose Scale.
Go back into edit mode ↹ Tab, the bevel will work as expected.


you can search for key combinations in Preferences->input  to see what it is used for


Is there a way to open a .zprj file in Blender?

.zprj file is a specific file for marvelous designer, as you cant open for example maya .ma because it means to be for maya only. So no, you have to open it in marvelous designer and covert it into other universal format as OBJ or STL


It looks like some vertices are getting left without any vertex weight influence. While in Edit Mode, select one single instance of any of these straggling vertices and check the Properties Shelf (to the right of the 3D View) for the Item Tab, which brings up the Transform Panel. Then look to the area beneath the Transform Panel for the Vertex Weights section. For any vertex that is selected, you will be shown all the vertex groups that the currently selected vertex is currently part of, as well as the vertex weighting assigned to each of the listed vertex groups. If you don't see any Vertex Weight section at all, it means the selected vertex is not part of any vertex group, and that would be your problem. Assign them by navigating to the Object Data tab in the Properties Panel, then look for the Vertex Groups Section, where you can assign, remove, and adjust the influence (weight) of the currently selected vertices.


The mesh isn't exactly symmetrical.

This behavior is intentional. Meshes which are almost (but not quite) symmetrical wont detect vertices as mirrored.This is needed to avoid problems with high-poly meshes where vertices may be very close.

To resolve the problem, you can use the Snap to Symmetry tool.
See: Mesh -> Snap to Symmetry.

This has options to select a distance threshold and choose which side of the axis to use.


Workflow for filling complex shapes with a 3D pattern

I'm no node wizard, so I'd recommend the Displacement node.
Then you can use UV maps for better control.

Add a Subdivision modifier set to Simple (4+ levels)
Use your hexagon texture to drive the Displacement node
Enable true Displacement in material properties

You can also drive the thickness using a BW texture


Bone chanches it's roll even in Rest Pose

It's just a display tolerance, probably due to the extra tiny dimensions of the bone, if you tie a mesh to the bone, you wil see that there is no shift, even when the bone display is shifting from edit to pose mode.


The underlying geometry is quite interesting and needs to be cleaned manually.

You need to join vertices with J key to create clean lines. New edges are highlighted with red in the image below.

Next you need to dissolve remaining out of place edges shown in the image below. This can be done by selecting the edges, pressing x and selecting Dissolve Edges.

The remaining line is quite clean.


It looks like you are using a custom keyboard shortcut preset. The default is called "Blender":

If you reset to factory settings in File > Load Factory Settings does it appear? This won't be permanent unless you save your startup .blend, so you can check to see if it's there without deleting your customized setup.

Also check to see if the operator is there by pressing Space in the 3D view while in edit mode and typing in "loop":


Non-Manifold after boolean modifier (difference).... Why?

It looks like the cut has its normals inside out. In edit mode select everything with A. Then recalculate the normals using Shift+N. If that doesn't work make sure that your cutting object is manifold before cutting.


Is the w-coordinate of the UV coordinate system supported by Volumetric materials?

If by UV you mean unwrapped coordinates then no, volumetrics can not use UV coordinates.  This is for the exact reason you stated in your question, by unwrapping a mesh you are only assigning coordinates to the surface of your mesh, not the volume.

Here are the texture coordinates that work for volumetrics (i.e. not calculated based on the surface of the mesh).
Texture coordinate node:

Generated:  Generated coordinates are based on the bounding box of the object.  The left, bottom, front corner is (0, 0, 0) and the right, top, back corner is (1, 1, 1); the volume of the bounding box is interpolated linearly between these.  By default all procedural textures use generated coordinates.
Object: The coordinates in local-space of the specified object on the texture coordinate node.

Camera: The position in camera-space.

Other nodes:

Position (geometry node): The position in world-space.
Location (object info node): The object's position in world-space.  Note: Unlike object, camera, and position this is the position of the origin of the object possessing the material, not the point within the object.  (This one probably isn't that useful for your purposes.)

For more on texture coordinates see my explanation of texture coordinates here.


How to generate a fake top lighting effect?

Lighting effect aren't recommended for PBR games, but it can be useful for games running on old hardware or mobile games to save calculation by displaying the assets in shadeless/unshaded.

To create this shader, add an emissive shader on your high poly.
Use an Input > Texture Coordinate and use the Normal input. This Input colors the faces depending on their orientation relative to the world (this means the rotation must be applied with Ctrl + a).
Connect it to a Converter > Separate RGB and use the Blue channel.
By default only the bright values are visible, to display the dark values add a Color > MixRGB and set it to Screen.
You can add a fake Global Illumination effect by adding another Screen node.
To bake your texture on the low poly use the Emit bake mode. You will find more informations about baking with Cycles here: https://blender.stackexchange.com/a/13509/23134
(optional) Blender's viewport and tools work in sRGB. If you want to export it to work in Photoshop or GIMP you will need to convert it to Linear, for that add a Color > Gamma and set the gamma value to 2.2.


Mesh Has Black Faces and Recalculate Normals Outside (Ctrl+N) Change Nothing

Found solution!
Use NifSkope, right-click on the mesh, choose Mesh > Face Normals.


I have solved the problem. In the glTexImage2D call the type parameter(8th) needs to be bgl.GL_UNSIGNED_BYTE instead of bgl.GL_BYTE. It's really strange because when I printed the buffer in console with print(obj["buf"]) the output was

Buffer(GL_BYTE, [...])

Here is the rectified code

import bge
import bgl
from bge import logic, texture

def loadTex():
    if objbuf is not None:
        bgl.glEnable(bgl.GL_TEXTURE_2D)
        bgl.glEnable(bgl.GL_BLEND)
        # enable light because blender disables it if no object is in the vicinity
        bgl.glEnable(bgl.GL_LIGHTING)
        bgl.glBlendFunc(bgl.GL_ONE, bgl.GL_ONE_MINUS_SRC_ALPHA)
        texBuf = bgl.Buffer(bgl.GL_INT, 1)
        bgl.glGenTextures(1, texBuf)
        bgl.glActiveTexture(bgl.GL_TEXTURE0)
        bgl.glBindTexture(bgl.GL_TEXTURE_2D, texBuf.to_list()[0])
        bgl.glTexImage2D(bgl.GL_TEXTURE_2D, 0, bgl.GL_RGBA, 48, 48, 0,\
            bgl.GL_RGBA, bgl.GL_UNSIGNED_BYTE, objbuf)
        bgl.glTexParameteri(bgl.GL_TEXTURE_2D, bgl.GL_TEXTURE_MIN_FILTER, \
            bgl.GL_LINEAR)
        bgl.glTexParameteri(bgl.GL_TEXTURE_2D, bgl.GL_TEXTURE_MAG_FILTER, \
            bgl.GL_LINEAR)
        bgl.glBegin(bgl.GL_QUADS);
        bgl.glNormal3f(0, 0, 1)
        bgl.glTexCoord2d(1, 0); bgl.glVertex3f(1, -1, 1)
        bgl.glTexCoord2d(1, 1); bgl.glVertex3f(1, 1, 1)
        bgl.glTexCoord2d(0, 1); bgl.glVertex3f(-1, 1, 1)
        bgl.glTexCoord2d(0, 0); bgl.glVertex3f(-1, -1, 1)
        bgl.glEnd()
        bgl.glDeleteTextures(1, texBuf)
        bgl.glDisable(bgl.GL_LIGHTING)
        bgl.glDisable(bgl.GL_BLEND)
        bgl.glDisable(bgl.GL_TEXTURE_2D)

obj = logic.getCurrentController().owner
if not obj.scene.post_draw:
        # face.png is a 48x48 PNG image
        obj["buf"] = texture.imageToArray(texture.ImageFFmpeg(\
            logic.expandPath("//face.png")), "RGBA")
        objbuf = obj["buf"]
        obj.scene.post_draw = [loadTex]

Here is the result


Eevee renders in gray and workbench renders in colors

Did you just set for Viewport Render Color in your mesh?

That is not how EEVEE and cycles retrieve color. They have nothing to do with final render in both render engine. It just change your viewport color which is faster and simple for easy render task. Instead of that one, you should assign a material to your mesh, and change the color of that shader (principled shader perhaps?). Then you will get the color in EEVEE and cycles.


Flames show in viewport but not in render

I found the solution, turns out my particle emitter was disabled in render, which disabled rendering fire.

This is weird because smoke is still rendered and volume passes are all black, and disabling the emitter in viewport does not affect anything.


Python access toolbox's parameters after calling an operator

A good rule of thumb is to use auto-complete in the python console, ie type in bpy.ops.mesh.add_lsystem(ctrl-space

>>> bpy.ops.mesh.add_lsystem(
add_lsystem()
bpy.ops.mesh.add_lsystem(nproductions=0, niterations=0, seed=0, start="", radius=0.2, pitch_angle=0.523599, yaw_angle=0.523599, roll_angle=0.523599, tropism=(0, 0, 0), tropismsize=0)

Note: after running manually once it gives the more bloated version with the mods n prods.

>>> bpy.ops.mesh.add_lsystem(
add_lsystem()
bpy.ops.mesh.add_lsystem(nproductions=0, niterations=0, seed=0, start="", radius=0.2, pitch_angle=0.523599, yaw_angle=0.523599, roll_angle=0.523599, tropism=(0, 0, 0), tropismsize=0, prod1="", mod1="", prod2="", mod2="", prod3="", mod3="", prod4="", mod4="", prod5="", mod5="", prod6="", mod6="", prod7="", mod7="", prod8="", mod8="", prod9="", mod9="")

which will give the properties that can be passed to the operator.

For the preset, right click on the preset menu,

which in my case, for a preset named "Default" gives me the following command in the paste buffer

bpy.ops.script.execute_preset(filepath="/home/batfinger/.config/blender/2.77/scripts/presets/operator/mesh.add_lsystem/default.py", menu_idname="WM_MT_operator_presets")


Keep getting .poll() Context is Incorrect Error even though I set the correct context

Set action to None

Would simply use

if ob.animation_data:
    ob.animation_data.action = None

rather than

bpy.ops.action.unlink()

The former only needs reference to an object.

If you want to remove all animation from an object, actions, drivers and NLA then use

ob.animation_data_clear()

The error from question is caused by clearing the action on the object on first iteration and henceforth having no action to remove, it doesn't poll.


I haven't found a way to watch the animation as it renders, but you may be able to play the animation from the viewport.  Go to the timeline, and there should be a play button at the bottom.  Additionally, the UV editor shows each frame so that you can see what they look like rendered.


Volumetric error when rendering mantaflow fire simulation

"I can see your problem there., Are there any actual cuboids there that might be set to a volumetric material, and are appearing in the render?" - ZargulTheWizard
Yes, thats it! It seems my volumetric node for the fire wasnt set to an absolute black, making the actual cuboids themselves only semi-transparent.


The value is linear:

Human vision is not linear. Preceived value of a diffuse surface reflecting 50% of light looks brighter than middle grey to us. Humans preceive around 21% or 18% reflected light as middle grey depending on who you ask. The Value in HSV is based on preception.

If you used Gamma node with 2.2 after the gradient it would output approximately linear greadient based on human preception.


Here's why :
In the Object context, the selectable property in the visibility window was unchecked.
Set it to selectable solved it all.

I was working on it only in edit mode, and in edit mode everything was selectable, here's why i didn't understood :/


how can I create faces from a mesh that has gaps? without creating overlapping faces?

You will have to create more edges between the inner squares and outer square.For the faces to be constructed between.  This is one possible way of doing it, although not the only way and not optimal.


How do I create branching particles like lightning?

I recently watched this and I loved it... Thunder tutorial on Youtube

Hope that is what you're looking for. :)


Is there a way to scale circular faces individually?

Scale radial edges around individual origins.
Rather than a face selection, suggest in this case using edges.  Scaling  the radial edges about their individual origins will have the desired effect

Select a radial edge to be scaled.
Select edge ring to get all radials of inner ring
With pivot point set to individual origin scale.


Does Blender 2.8 beta support the new gtx1660

I think it should work fine, since the GTX 1660, even though it is new, still has the same CUDA cores which blender uses for rendering. Also, all of the new RTX series cards work, meaning the GTX 1660 architecture is supported (not sure why it wouldn't be).