ZBrush | 015 | FiberMesh Hair for Beginners

hello everyone mark zedgen again and uh we are using zbrush 4 r8 this is an old version of zbrush but actually the principles of fiber mesh is true for almost all applications across so in the first part of the video we'll focusing on the very basics of fiber mesh and a couple things you might want to use and know of this is about masking and selection so if you're already familiar with this you can skip but it is a good idea to refresh the knowledge especially if you're a beginner it's a good idea to have an overview about the basic tools we are using so first of all let me make it sure that this is a polymatch model and uh shift f turn it on so now we see the polymesh uh function and um the way to create fiber mesh is fairly easy so once you have a model that is selected and available you can walk down and go down and look for fiber mesh so here's the roll out and actually you can hit on preview and boom fiber mesh is already there now please keep it ahead that uh when you are using uh the polyframe function so polyframe is turned on here uh shift f so if i'm turning this off uh poly frames are renderable so when you are hitting bpr render or pressing shift r it will render with colors uh and this is one thing the other thing is that the fibers are actually picking up the polygon group information so because we have kind of a reddish polygon group we have a kind of a reddish appearance for the fibers it's not the fiber not the color of the fiber it is the wire of the fiber so this is where the fill actually this is why we see it in red so if you want accurate information about the colors you have to press shift f turn off the poly frame and then hit shift r or press bpr to render your preview so this is one thing to know the other thing is that you have multiple steps to get your results so right now we are in preview mode and when we are done with our settings and the basic adjustments we can go here and accept the changes we made and then the fiber mesh will be created now please um make sure that you understand that these modifiers so what we have these are not good for making haircuts all right these are the behavior the appearance the basics of the style of the hair or or the growth of the hair but the shaping the forming is a different step so first you are adjusting the basics and once you have the basics uh the standard kind of an appearance of the hair and property of hair then when you hit accept then you have access to actually paint and sculpt the hair uh the way you want now another important thing to keep an eye on it is we have a preview settings and we have bpr settings so because fibers are really consuming memory and it's really time consuming to create a complete a complex fiber like a haircut you have to simplify things as much as possible to get relatively quick results and a responsive working environment so for that uh we have the previous settings and uh the previous settings of fast preview now it's turned off i can turn it on and also there is this hundred per visual fibers visibility so if i'm just downloading this down i see less of the fibers but still if i'm pressing shift r the bpr setting will be showing me the actual amount of hairs alright so this is kind of a shortcut that helps to reduce the stress on your workflow and other things now why do we care about this pre-visualization so sometimes it is better if you see less of the hairs because it makes easier to select and recognize the shapes and patterns within the structure all right so if you have too many visual information uh too much visual information it could be a little bit demanding so it's hard to recognize where you are what you have to select how to approach that what you have to match so it's it's too much of a thing uh i don't want to be that drastic so set it about 50 and that's okay now another setting that is uh here uh the bpr settings the bpr settings are it's imagine that you have an additional modifier so once uh the fibers are completed you still see a simplified version of the fibers within the viewport and to enhance the quality for example the flow the subdivision of the hairs you can still adjust the bpr settings so these adjustments will take place when the rendering is completed so this is one last step to improve uh the visual qualities of the fibers all right so we have a couple steps and there's a there's a workflow presented here so we are creating a selection we need to have a model then we have to highlight the area we want to use swipers but then we have the preview making the modifications and once we are done and accept it we can still have an effect on the appearance of our fibers by using the bpr settings okay another thing that you need to know uh time to time there is a tendency that this preview is turning off it may happen so if you see that the fibers are disappearing when you hit again preview there's nothing wrong about this it will get back the latest adjustments that you made okay so that's how it goes another important thing that let me turn this off and let me create another item so probably a airplane plain 3d alright so this plane 3d is actually let me check the display properties and make a polymesh model so district properties it's not a double anymore so that means there's one side that's visible and the other side is not so if you are creating a fur or hair on a plane like this and let me go to fiber mesh and let me hit on preview so one side is now it has hair you don't see the plane but it's clearly visible that the hair is only on one side but if a double let me turn off the preview but if double is turned on so display properties and double turn on and you're going up here and fiber mesh and preview now you have uh hair on both sides so sometimes it is good sometimes it's beneficial but if you accidentally make this and forget to turn off this double feature you may end up with a lot higher count of geometry than you've already originally planned okay so please keep that in mind this display properties should be turned off if you don't want to uh fully load the computer so let me preview turn on and off now another thing before you're jumping in you can actually uh open uh different type of fibers from lightbox this is much better if you have if you have some time and you're just looking around different types of fibers so let me go in here all right close it up and you can see the structure of the fibers and you can play with the with the various adjustments uh to see yourself how these are influencing uh that you see and also let me zoom out a little bit and look for a preview render so shift r and create a pd render so this is one way to create different fibers these presets are are better if you're creating something that's kind of a generated but if you are looking for a haircut where you have to use a specific style and adjust the length and everything else it could be a little bit off uh now another thing uh let me go back to my sphere so here we are this is our sphere shift f to see the actual frame and uh let me tell you a couple things about how to organize the stuff so first of all if you have an animal that is painted so you have colors let me show this situation so we have a basic color let me switch to a kind of a reddish color and go to color and fill object and let me switch and select another type of color that's fairly strong rgb is on standard brush is used there's no add or sub so let me start painting a couple of things a couple stripe like elements so here we go this is it and maybe oh we don't need another one so here we are and this is uh this is a basic page and now let me go to preview and this is my preview so we have plenty off for here and there and as you see there's an underlying color and there is a fiber color but fiber color is not matching to the underlying color so if you are if you want to paint an animal that has kind of patterns and and fur within the fur like a tiger you want to use and want to pick up the color information that has already created so right now the base is black and the tip is this uh greyish one so the tip color is set to one if i crank it down as you see the tip color is picking up the information that already presented okay so it's a good thing uh the base color is set to 0.5 that means it is a nice blend uh you can keep it as it is because it's um it creates a little bit of a better feeling of depth you can see how the depth appears here because because this is dark blend okay now another thing let me turn off this preview and see what we have here and press shift f and shift f will show me uh the the polygon fill and now here's a little issue and a little trick that might can help you because sometimes it's confusing that you see the painting color and also the polygroup colors so let me go here in the geometry of subtools and add the subtle close to the name there is this paintbrush icon and this paint brush icon will turn on and off the poly paint okay so this is what you see now is purely uh the color okay so if you especially if you set it to white uh it will be an interactive one so now the color is easy to adjust because uh the palette paint is turned off but when you are turning back on polar paint uh this color selector is not you know it's not active anymore because we already assigned a color for this sphere okay and we can actually create polygon grips but we want to create polygon groups based on the color paint so uh how will that work uh we can go down and there is an option a rollout called polygrips now within polygroups we can automatically generate polygroups based on basic principles now here uh this will be based on polypaint okay so because we have existing poly paint information and we can go and click here base from paul paint and let me control drag shift f and see what we have so go in the subtool turn off this shift f and as you see uh this is the poly painting formation so this is the poly paint information and if i'm turning off the polyp information and turning back on shift f the feel here is the bottom of my screen so i have a little bit of a small screen to make it a little bit easier on the video so as you see we have matching polygon groups now when matching polygon groups are there and we can turn off this shift f and walk down back to fiber mesh hit again preview and the previous settings are there so uh the color information are the same but more than that if you're pressing shift f uh we also have uh the the polygroup information uh transferred to the fibers so why do we care about this because we can hit accept and um yes we want to turn on this uh polar paint up sorry the fast preview and here we are this is the fibers let me turn off the original sphere so and these fibers we can actually select the specific types of fibers so i'm pressing ctrl shift and tapping on the blue the bluish area so that was the polygon group and now those are not visible okay if i'm clicking ctrl shift and tapping outside everything becomes visible if i'm selecting on control shift and hiding away at the bigger part so tapping on there control and invert selection so now there is a separated group that is different in color so these are the green ones ctrl shift and drag outside so i'm going to select these are the red ones okay and this is a different polygon group okay a few colors are just bleeding through so that might be uh it's not that super accurate because there's much more fibers than actual polygons and the polygon grouping was not that accurate but it's still a good uh starting point so now you have two things uh at the same time you have different colors for the fur and you have different polygon groups for the fur and a big deal with that is you can control shift switch to select rectangular selection and tapping to see everything tapping on one thing to show that only so now you have the fibers all right let's start to play some games with the fibers just to cover the wear basics all right because we have special uh adjustments for the basics for the fibers so the typical brushes is betty and uh g like grooming b batty and uh jinnah and uh probably one of the most easy to use tool at the beginning is the groom hair toss the reason i hesitate is because these grooming tools are great tools but they are fairly aggressive so when you start in jumping in and start using these tools these could be really strong and you have to have some kind of a knowledge uh if you want to control them i like to use them only in the last stages but for for testing and looking things up it's fairly easy to start with them so this was the groom hair toss like batty jitter and a like albert that is the code for that it's groom hair toss another valuable uh part of this uh special grooming brushes is the b uh g e that's the chrome handle lengthen now let me control shift and isolate this green part and drag these so i want to make them a little bit longer a little bit longer okay and contrast shift and tap and see what we have all right so the principles the reason we are taking care of these uh fibers because if you want to control them individually you have to have these polygon groups otherwise it's a little bit hard to to play with those okay we will go through some of the other brushes as well right now what you have to recognize that polygon groupings are very important you can create polygon groups through the painting but i will show other methods as well okay so let me go back to the polygon sphere and see a couple other settings so walking down and go to uh the fiber mesh and just to cover a couple uh things before we are jumping in and creating the hair for the figure so um first of all there's the max number of fibers this 50 000 is is fair enough for human hair for a full figure's hair and it's not really affecting the length so it is much more like the density of the hair if you want to create more volume by adding length you can always do that and at the end of the day uh the hairstyle will also affect how dense the hair will look so uh that impression is also influenced by the hairstyle that you do uh there is a length profile and there's the length value now this is a little bit tricky the length value so if you're if i'm cranking this up like value 200 it's very small and as you see as we as we're cranking this up uh the length is uh is added but but it's not that fluid it's not that soft as uh real hair and the reason is that we have only a reduced amount of segments so if there are no segments gravity cannot really play out and the hair fibers cannot really fall out the surface so they're not really picking up geometry information so what you need to do is to adjust the segments number so that is set to three it's okay if you have short fur but if i if you adjust it uh uh somewhat about 20 it will be much more closer to real life geometry okay now as you see we still have a couple of flyers so we still have copper hairs uh they're not really following the changes and structures there's nothing wrong with that because we will adjust later on the copying and we have uh we have some kind of uh imperfections by adding a twist and also a couple calculations or errors too so so don't be afraid if you have a couple flyers of hair uh uh it may happen all right so now what's up next uh please make a note for itself that this profile is good if you want to adjust it and you want to create actual geometry around the center of the fiber so the fiber actually is aligned it's aligned in 3d space now when you are creating the rendering this line is rendered as geometries and it has kind of a thickness of it uh but when you are adjusting profile and set it to three or four that means you will end up four-sided cylinders or five-sided cylinders and when you are hitting an accept you will end up having the fibers and the surrounding geometry if you want to turn it to dynamesh you can do it uh later on so this one is useful if you have a little bit of shorter hair so let me show that so let me reduce the max number of fibers so and also reduce the length okay so in this case and um zooming in and what i'll do is i will change the coverage so right now coverage is set to 10 and i will increase the coverage uh with a huge amount of number so that is uh that is the uh the coverage let me set the twist to zero so right now there is no turing uh this is kind of all simple hair stripes and we can still increase the overall uh coverage so let me increase the coverage now these are fairly thick and reduce in connection with that we can reduce the number of fibers now because uh because we have a fairly high segment number i haven't adjusted it so i need to lower the segment number and that will elevate a little bit of these you know here comes the trick so if you want to actually create thickness you can adjust this profile it will ask you do you really want to do this yes and now boom you have geometry okay so uh we can still increase the coverage a little bit more and uh this is a bit profile length profile so we can still adjust the bit profile we can still crank this up a little bit and uh by using these okay and now we have yeah lucky all right skip this note until restart okay so now we have a 3d geometry that's could be used for printing you can hit accept and actually uh you can use this and you can you can even sculpt this uh but right now because density is that much there is an overlap okay so this is this is a good thing uh you can even comb this down if you wish or just lengthen this a little bit more but be careful because you know the line segments was pretty low so in this case even if you stretch this out you're not adding segments all right so this is why it's it looks like much more like spikes but if your goal is to create something like that or where dense for for 3d printing or something you can use that i've added a subdivision so let me add another one so good news that we have a set of firsts and actually these are open uh tubes uh probably we can go down uh let me undo with the subdivision go to z undo the subdivision and now we can go down geometry and modify topology and there is uh a cat close holes so ctrl d now and as you see if i'm pressing ctrl d there's no opening gaps because we already closed the holes of the fibers here we go and do the lower and modify topology close holes make sure that it is closing and dynamesh and to 300 and dynamesh okay so now we have we have a solid dynamesh model all right so that's actually a single volume so everything is welded and this one is actually printable okay now let me go through and check the human hair and once we know the basics and how to create a simple hair fur like thing we can go and look for the human hair now here we go this is the female head and uh we also have a lightbox prepared so these are the references uh it's a good idea to have some references so um if you if you don't have anything specific in mind it will be much harder because you have to focus on the technical realization of the project and also you have to pick up ideas and make decisions on the go so it will be a little bit of a hard thing to do now we have a couple eyes and this model is already painted i will turn on the painting later on but right now just let me start and make some organization tricks so what i need to do is i want to create a big uh for this figure so uh let me duplicate the figure first shift and d and uh it will create this application no it doesn't work because i have record on so let me turn on duplicate and move it to the side perspective should be turned off so yes perspective turned off it is great let me turn off everything else so pressing shift on the eyeball to make sure that only the female head is selected and to avoid any later issue let me rename it to big right away so i'm holding down control probably switching to the bst brush and holding down control will help me to switch to a mask now honestly yeah it was accidentally turned off so here is a mask but it is it is good it's not bad but the problem with the painting uh with the mask it's not that accurate especially around the edges so what you can do and this is why we turn off perspective so i'm holding on control and dragging outside and controls held down and clicking on the brush and you can switch and select mask lasso now mask lasso is working this way so we're starting from here uh just cornering the the ears there is some more and maybe end up here okay uh i still have to add the top of the head so let's add more and voila here we go so this is this is our selection um maybe we want to make some paint corrections we can go down control and switch back to mask pen change the brush size and if you want to make it a little bit sharper around the edges what you can do is holding down control and change the focal shift to a lower value and that will end up with a little bit of a sharper edge you can see the difference now so because focus shift was changed i can be a little bit more accurate and this uh this single adjustment can help me to to make a little bit better paintings yeah all right that's it hairline is okay seems to be okay that's great now uh so what what we need to do is turning on shift f to see the actual wires and uh i don't think we need that much of a resolution so let me check the resolution before i make the conversion so geometry and um uh this is it has three subdivision levels now the numbers are not visible so let me turn off this temporalis six millions okay so this face has six million points and ah actually we don't need that much so let me lower down and uh this would be okay or uh actually actually one subdivision is enough now i will delete the resolutions the other resolution okay just let me press ctrl w and this is creating a new polygon group for the selected parts and now i can delete the high resolution a layer recording all right i forgot to turn off the layers i had a couple things on layers so noise layer is there so let me delete the layer and now once i'm rid of that i can go back to geometry and delete the higher okay that's it so here is the vic and i have to delete the face so to delete the face i have to choose the selection tool so ctrl and shift is held down and ctrl shift is enabling me if i'm clicking on the cap now only the cap is shown sometimes if you clicking directly on a polygon this is what happens so if you're just zooming in and clicking on directly on a tiny part there's a chance that you have a different type of selection or you can actually drag a window and now you have only a few polygons selected so when you see that uh not the selection error just hold down control shift and and tap outside the model and you will get back the information and do it again uh or you can actually uh undo uh the operations so selection is an undoable operation so don't you don't have to worry about this it's going to run shift and select the model and because we don't need the face we can delete that so go down geometry modify topology and uh don't forget we already deleted the higher resolution so there's no resolution levels only one the actual resolution level and the lead hidden will help me to get rid of every other information now as you've seen in the introduction of the hair fibers we use polygon groups and uh at that stage the polygon groups were uh calculated from the poly paint but right now we don't want to do that so to make it a little bit easier we have to we can use a mask so the process is the same uh control and creating a mask and then pro press ctrl w and it will create uh shift f actually to make it a little bit easier on your eyes i will turn off the wire so the wire the line is this tiny script probably will be visible if i can grab it it's not easy okay now i have it so it will be visible here here's this line script so you can turn this on and off and that way you see only the color okay and as you see i had a i had an error because the uh the painting was not accurate that much so what i have to do uh i have to make make these polygon groups now to make it a little bit faster the first polygons will be created with the lasso and then i will use the painting method now what is the logic here so if you check the images especially this one so this image in particular and this is showing the hairline fairly clearly so what you see here here is the ears divide of the hair so this is this is one side of the hair this is another one this is called to the opposite and uh till uh so we have to generate the first big three hair groups and once we have the big hair groups then we can divide it further okay so let me click it down shrink it down going back and z and um actually start to create a polygon grips so i'm holding on control and switching the mask to the mask lasso so and turning off symmetry now this is a huge point so don't forget turn off symmetry because when you want to create independent groups and asymmetrical groups symmetry will not pay you much okay so here's the here's the hairline so the first hair line and i will cut this up like this okay ctrl w maybe maybe add more so ctrl and w and just adding some correction maybe back to the mouse pin and and paint to this okay all right and ctrl w all right so this is this is what we have this is the first oh i'll do ctrl and alt to remove from the selection ctrl and w if the color is not good enough for the eye you can control shift select the model and go to w until you see something that's easy to recognize or you can uh go back let me go back completely and go to w or undo and control w again so every time you repeat this process uh it will update the color now my problem with this selection is that it was not enough asymmetrical so let me go back i'll make a correction make a point and make sure that is is fairly asymmetrical okay so ctrl w now all right again ctrl w to get a different color now this is the rest um ctrl shift to select the rest so i'm clicking on the rest and uh control and switching to mask lasso again and cutting up this area so this will be another this will be the third main hair group well let me make control shift ctrl switch back to mass band and make a tiny correction on the curves so maybe this way okay if you want to create a nicer and cleaner and smoother draw what you can do is holding down control and go up here into stroke and turn on lazy mouse and now you will be able to use the lazy mouse function and smooth out a couple of things i will just turn this off because right now i'm not interested in that much these basic polygroups you should just create fairly clean okay now ctrl shift tapping outside and this will bring back everything so these are the the three main uh areas we want to work with and we will divide them further okay but because we are focusing on it on this hairline here this line this is what we wanted to create first now let me look to the side and use this image as a reference so what i'm looking for is i'm trying to guess the polygon group sizes i want to work with the smaller the polygon group size will be the more the work but usually you will get better results if you have fairly small chunks and clumps of hair okay so maybe here we should use about 20 so just let me start working on this and i will speed up the video okay so we have plenty of areas now let me select this one go to w to add a little bit of a different tone yeah now it's much better it's a little bit easier to to select i can see i'm trying to follow a pattern because right now the hairline is starting from here and this is the direction of the hairs so i want to uh use these chunks of smaller chunks here at the front these are in front of the ears so if i start to combing i can drag them around and these uh those hairs that are coming behind here those will be easier to push to the back area okay so this is why uh i made this differentiation between the hairs so let me follow the process and i will show the final okay so this is the full hair and as you see we have different groups uh different directions so these will fall from this angle okay so let me draw there and these uh on this side will be taking place and trying to fall to the front a little bit like here or like here in this area so these these will fall to the front and uh these here at the back will try to cover this back area all right so these this will be pulled so what i'm what i'm doing is nothing else just trying to uh covering uh and understanding the the power lines of the hair so where the hair starts and where it ends up and also i can make my own design decisions uh but uh if you if you don't have something in mind if you don't have enough references it is a little bit harder to complete uh the whole stuff okay so um now it's time to add the fibers and see the head so go to soft too make sure that the head is visible actually we have to have some kind of an eyeball and uh yeah it's good and we are not interested right now uh in the polyframe so our pi frame will be uh important later on but right now it's not so go down and look for fiber mesh we have the this vig and go to preview and uh actually the numbers and settings uh are just as previously adjusted so what we have to do is uh just go and crank down this is the basic value this max number of fibers is set to 50 000 but right now i'll just set it to 40. so 40 and the profile is set to 4 but in this case the profile will be get back to 1 because um my goal is not to create a printable geometry as before and the length was set to 30 200 is the default uh with 200 is still fairly low so just let me increase the length uh with the with some heavy values so that is right there and of course the segments should be increased because the default number of segments was three and that's really not enough uh so i have to redu increase it a little bit more but you don't really see the effect because gravity is turned down so i have to crank up gravity 0.5 is the default value one is usually too strong so 0.7 ish is usually a good uh kind of a starting point now uh there is the twist is set to uh 18 uh this is default value i have no problem with that the colors we are not really taking care of probably we can crank down both values for the colors and we can create kind of a brownish hair later on but let me first check uh the uh gravity so gravity is okay but still need to work on the length now let me show you the concept of length um usually when you have a haircut the haircut is uh is using different lengths of hairs so but when when the hairdresser starts to work uh usually there is just uh the hair is washed and and come out and the length is set to equal at least in regions so right now the problem with that this this is the length is uh is not depending on the actual haircut the length is just a general absolute length so some of the hairs are for example here that this length is just too short to actually create a a hairstyle like this but the hairs at the back are actually too low so to solve this problem usually we are just increasing the length value until we reach a kind of a good overall length now here comes the problem so even if it's set to 200 3000 it's not enough so uh if you want to increase it even more you can change these values and crank up let me close this back and now this length value is a little bit more sensitive okay so it's uh when i've set it to 1000 now it's actually very long now let me show you a tip so even if you are later on you can change the length of the hair but for organizing stuff to work with the polygroups to to establish the foundation of the hair it's better if you have kind of a mid length hair so not super short not too low so this is why i like this bob style because if you make if you change up your mind you can always lengthen a few clumps here and there and that's a completely different hairstyle okay so if you want to go over shoulder length it's fairly easy to do even if you you can cut up uh from here and there so you can create different styles from this one all right now length is set to 1000 again let me show this length pro 5 was modified close back up and the number of segments uh is set to 15 but it's not not that high so i will increase it to about 24. this is this is quite a good one now uh we still have a couple values we want to work with so first of all the overall was set to 50 by the folds and uh here's here's a trick so if you are creating two like hairs or you want to save some time or just experiment you can crank down this number and set it for example to 10 and and make a test so let me just quickly create a test shift r is the bpo rendering okay as you can see this was uh this was set to 10 so when the max fibers is very low for example like 10 what you can do is to increase the coverage so coverage is set to 120 and let me press shift r dpr render right at the top okay and now despite we are having a fairly low number of max fibers it is still covering face uh pretty well so that is that is kind of a trade-off uh you can decrease the max fibers and change uh the coverage accordingly so right now i was set back to 40 because it's quite a good density and the coverage was set to 10 well maybe uh 20 will be a little bit better and i will keep it as it is now uh the color has a last thing to adjust so let me switch to kind of a dark uh brown so that will be even if in real life there's their hair looking fairly dark uh a full black is not always the best option so let me choose this uh brownish okay and with these settings so profile set to one segments 24 gravity twist there is some twist coverage is set to 20 the scales and everything's are default and the max fiber is set to 40 and don't forget length profile is set and adjusted to have a better impact of this length slider so this is why 1000 is enough and now i'll hit accept and yes i want to activate the fast preview mode if you forgot to click on the fast preview mode actually just uh preview settings and fast preview turn on previous is set to 50 so if i'm increasing it will be a little bit denser if i'm decreasing it will be less dense and don't forget polyframe when we're turning on polyframe because we have created those uh polygon groups now we have plenty of polygon uh groups for the hairs as well uh this will be a little bit tricky to select at the beginning but you can try it on you can turn on ctrl and shift and tap on a part and now we have only these hairs selected okay so that's pretty cool all right uh so go to geometry i'm sorry subtool and here's the fiber now i don't want to make it visible so the vegas turned off female height as uh is visible so before we are moving on and start working on a hair styling there's one thing we should take care of it's about the equal cut so we want to use a cut control and shift and this will switch to the selection tool but uh more than that we have clip curve here and let me drag it out now as you see because it started from left to right the actual area that will be dragged should be uh on this top area so where you see the gradient that is the falloff area so if you see and experience this you have to just hold down control shift and not releasing the pan i'm still holding down on pan on the tablet and moving to the opposite side and pressing spacebar uh the control and shift is still used i'm pressing spacebar and now i'm ready to move so i can move it aside make my corrections and here we go so i'm going to create a kind of an angled haircut and then release wait until the operation is completed and now i have a clean uh haircut for this and of course if you want uh just to make the first things you can press uh the becky gino and albert uh the groom hair toss and groom hair toss will be ready to work okay so that's it for now if you don't see it working um in my case it is because the spotlight is on so if you have a similar issue what you can do is open up the sidebar and go to the brush settings so press settings will be used anyway and go down to samples and turn off spotlight projection and now we have the hair toss enabled so i will just make some basic uh hair corrections okay so the the groom hat toss is a little bit uh stronger than usual and it doesn't mean these brushes are not good they are good but you have to take care of them and use them wisely and usually only for specific goals so the main work is usually done with the standard brushes but with a couple adjustments so um first let me just turn off spotlight so shift z is turning off spotlight and let me switch to a standard move brush b m and v betty marta and victor so that's a standard move brush now a standard move brush is not capable to move fibers at least not the way we want to move them so the problem with that is by default it doesn't respect the fiber property so what we have to do is going in and look for fiber mesh so don't forget that brush palette is open here and we will keep it open and to have some more room i might want to close the tools so double clicking on the divider and fiber mesh and here's this value that preserved length this is a quite valuable thing and uh what else maybe the stiffness if there's a little bit more stiffness the accuracy of the brush is a little bit better now this is one thing that we m we might want to uh think of so when this is turned on it means the brush is not lengthening uh the hair what you see here is actually not changing the hair length it is just uh pulling out um the uh uneven lengths of the hairs okay so that what we that is what we see and right now because we have multiple polygon groups we will be able to organize uh the look of the hair a little bit better now how to organize it so first of all i'll start from inside out and that is usually the best strategy so uh we'll take a look and for example here's this in this yellowish area so i'm a contour shift holding down and clicking on this yellow area now as you see here is our hair now what you need to know that a fiber mesh is by default it is masked so let me let me start using um the tool so i'm pulling it down i don't want to use any rgb it's not really interesting and one thing that we might want to adjust is the masking type now why do we care about this masking probably the stiffness is too much so if it's less stiffness it's a little bit easier to work with now now the masking is because of the root masking is a little bit strong so especially for hairs of the first layer so that's close to the head close to the skin uh and not top layers usually uh the masking is too strong so it's just it's too stiff here so let me look around auto masking and automatic fiber mesh is enabled of course and it's good but here we are this is the fiber mash mask curve now this is a linear kind of curve i will just add a point here and pull it in and this will help me to move the hair roots a little bit closer to the head okay so that's that's a tiny uh adjustment i like to make and maybe i will pull this hair a little bit away from the from the skin now if you see you can see that this is a little bit jaggy so i will use the shift key for for smoothing out the fibers but by default if you're using the shift key it is also shortening the hair okay so because shift has not turned on so you see when i'm pressing shift the brush properties will switch to uh to the to the shift brush property and that means fiber mesh masking is on but the fiber meshes is reverting back to the original in the case of the shift it's okay but we want to go back after the fiber mass section and change preserve length and when preserved length is turned on when i'm using the shift it's not shortening uh the preserve the length that much okay it still has some kind of a shortening effect but it's not as strong now what else what happens if you want to um adjust the length uh there's another brush that's fairly useful for this this is the b uh g and e uh like uh elmer so where we are and bge uh yeah the groove lengthen here we are okay so that is for through changing the length of the hairs okay so if you want to make a correction uh you can use that and shift key is helping to uh to rearrange uh some of the some of the hairs if those are a little bit messy so i'm using the shift key to straighten up the hairs here and there all right so that was a first layer and uh move brush a bmv and with the move brush i can uh i can move this closer to the head okay now let me switch ctrl shift tap outside and the process is the same so one by one this one's not uh that oh actually it's it's fairly good all right this is it okay it's another nice catch and as you see we have some issues around the ear so a little bit larger breast size let me pull this and straighten the hair okay so it's a little bit slow i will do it uh and you have seen most of the brushes so shift is working move brush is working uh masking was adjusted so that these are the tools i'm using another brush that's good for organizing things is the uh snake hoop brush i will switch that to snake hook b s h snake hook and also change the masking a little bit so that is actually i had an issue that rgb is turned on so i'll turn off rgb i don't want to paint absolutely these fibers so pull it and preserve length was not turned on so i will turn on preserve length and use the use the snake hoop brush as well okay so control shift tap now these were the first few layers and now i will go to silent and make the whole process and once we are done then we will talk about how to actually shape and create forms okay uh you can also change this front collision tolerance uh if this collision is uh higher uh the fibers will respect the geometry a little bit better but uh it will just it won't be as flexible so if you if you crank it up for example you won't be able to move the uh the hair so close to the surface so this is why let me pull this back on to zero and use the smooth and now i have a little bit better control and i can put pull it as close to the head as possible especially if you have longer hair and there's more weight to the hair it might be a good idea to focus on this all right so to make a hair shorter oh what you can do is holding down shift key set to smooth and brush texture i don't need any brush texture so preserve length is now reduced a little bit with the smooth so if i'm starting to use the smooth i can actually smooth and shorten the hair with the smooth brush all right and then just using the standard bmv move brush so this hair is coming from the top area so it's not that close to the head anymore close to the skin uh this will be somewhat of a covering layer if you want to turn back in perspective to shift and see the other layers as you see we still have a lot of groups so a lot of work ahead now this is a top layer so this will be outside usually outside layers at least at the top are are quite tidy and the bottom are usually much more clumped so we will go and make that happen at the end but right now at this stage we are only cleaning up uh the the hairs so just organizing the groups make them more uh more calmed more fit yeah now this is this is where hair toss becomes really handy so if you have a bunch of hairs you want to handle them pretty fast this one and then we are switching back to the bmv move brush and use the move tools okay front position is way too much and this gives a huge distance you can see from the ear and this is why it's harder to control the hair so if it's too big reducing this collision tolerance can help a lot okay you don't have to be super tidy at first you just want to fit these hairs a little bit more okay uh when you have uh the basic hairs uh organized at least on one side and you want to adjust them as uh as everything is visible here comes another issue so uh move is turned on move brush is used but i can't really select only a single hair group everything is affected so to reduce this we can turn on auto masking and mask by poly groups so when masked by polygroup is turned on at the highest levels of 100 that when you're touching a hair a polygon grip that the the brush will only affect that hair group so this way you don't have to always show and hide the the actual polygon group you can select for example this yellow area and pull a little bit more and as i see this this yellowish hair is a little bit higher uh than the others so i will pull this up a little bit more and there's an overlap here uh maybe i want to reduce that overlap and pull the yellow hairs through because it's the top layer and then select this blue one and try to adjust that and still if you wish any time you can hold down ctrl and alt ctrl and shift and and select the specific hairs and then go back onto shift tap and and see what you have as one unit uh but now you have a little bit better control on the overall stuff and and make tiny adjustments all right so here is uh let me elevate this green one a little bit more and select the the purple and uh this purple is is quite a top layer so i will uh i will elevate it lift it up a little bit even more yeah that's it all right so this little trick can help a lot you can select hair roots lift them up for example to make a better cover and if we are ready we can make a test right now only one half is organized but let me see how this thing is going so shift after turn off polyframe and now we have the pure color and i'm pressing uh shift r to hit render and waiting for the render to complete okay so this here is uh not bad yep we have to change uh the material uh we have to paint the hair a little bit and and then things will be better because basic material is not the best option for this but i don't see what i'm curious about is i don't see too many flyers okay so in this case when you start rendering the first thing you look for is uh to look for specific errors but as you see there are no not much of a flyers to this basic organization uh step is uh promising so i have to complete the other side and once these two sides are complete then i can focus on the styling and making changes okay it's time to create a test render maybe this hair should be a little bit tighter okay uh so the length is not perfect it's too long around here um more showing more of the neck uh is a little bit uh better for style and i will build up a little bit more asymmetry so these hairs will be a little bit longer but this cut will be a little bit shorter to make it a little bit tighter uh fit but let me check uh how this thing is looking so shift r to quick render okay a couple uh stray hairs here and there so the top but otherwise it's quite tight let me try to fix this so a big smooth smooth out a couple of things lift up some of the heads okay now we should assign a material uh to this hair a material that helps to visualize the changes and for that we need to assign a material so right now the basic material is in use but i'll switch to a simple hair material and this is a little bit better maybe maybe hair too yup hair too is a little bit better for the visualization part now because uh this is uh the model already has a material but it's not visible so let me turn on the poly paint so pull the paint is there we also have eyes so the eye proxy was used now but we have individual eyes so let me show those okay so here is the figure now this will change a couple things so it's easier to follow what's going on with the hair and definitely need to change the haircut so this is too much here so i will do some changes especially around the longer hairs so i'm using uh shift and shift with preserved length probably reduce preserve length and that way i can shorten the hair so some of the hairs will be a little bit shorter pulling it up a little bit with the move brush and then using the smooth to clean up the mess if there's something happens so control yeah this is a long one so pulling it up pulling pulling then using the smooth will fix the problems actually you can do it with a click brush but quick brush is so this one uh clip curve this was working fine but [Music] it may cause a little errors here and there so sometimes it's faster to use this but sometimes it creates light little steps so you still have to use the smooth brush to make corrections okay so the hair is a little bit lighter now another thing that uh probably uh we want to see the ears so this a club should be moved away so let me drag this and move it to the front a little bit slightly okay so later on i will make the adjustments and uh probably this green one should be pulled aside there is some error here and there so i want to give some room for the ear oh yeah that is covering okay so a couple stray hairs are not not an issue now i will use the mask my polygroup i will turn off because right now i want to move the whole hair as one unit so i pull them all together and uh maybe this area should be a little bit closer today to the surface of the of the skull and this side should be a little bit more away so usually there's a step there's initial flow of the hair so a little bit higher on the top then there's a little straight line and then where the ears are there's a little bit of a volume so here same thing a little bit closer to the skull pull around the ear so i can pull around here for example and make some changes yep i will clamp up a couple hairs on this side and use the pinch brush uh because right now the the hairs are a little bit parallel and not really um pointy like uh individual um hair clumps so i will use that um more and still need to cut from this volume so i have to regulate those okay pieces of hair okay now let me turn this to x y z and now i have only the y axis as living rotation so eyelash there's another shift f and so this is this is the basic here and let me create the test renderer okay now i will focus on painting and creating uh hair clubs and add some wild things to the hair now let me save it first okay and now comes the pinch brush so uh b p i pinch brush and preserve length is turned on because we are working working with the fibers and auto masking mask by polygroups is also turned on so this pinch grab pinch brush will help me to tighten the hairs so let me select this one and create and we'll do the same thing for many okay uh the material looks better than the previous one uh but i do need some changes around the hairline so let me grab this all right now we can work on the painting and by default it's not a necessity to paint a hair but but paint can really help to understand the form and shape so i will switch to bg and color color tip and uh this is already set to rgb and the color i'm picking is uh somewhat uh in a kind of a light brown because the hairs itself is brown so i can start painting a little bit brighter colors around the tip of the hair so painting uh the hair tips and if you are not satisfied with the with the area you can paint uh it probably you can change the masking process so there is an auto masking operation in auto mask fiber mesh and for this particular brush here is the fiber mesh mask curve now the mask curve tells you that only so here's the starting point here's the end point so uh as you see only a tiny percentage so if if these uh squares are indicating a certain percentage you can see that only only 1 8 of the length is painted so what you can do is to drag this one and that way you can increase the amount you can paint uh you can even change it a little bit differently so by adding another point and pull this up this means you have more strength on the end okay so this can help a lot if you want to uh make corrections around the paintings you can see now it's it's much more uh much more effective much more stronger if you want to add a little bit of a lighter tone now the same thing works with the with the color root and color mid so brush g and column mid section this is the mid section by default the mid section is actually calibrated pretty well so that will be in my case i will switch to a little bit of a yellowish or or no more red more red okay a little bit brighter red but still dark okay so this this this is giving a kind of a highlight to the hair okay uh same here on the back side so usually the end is a little bit uh brighter the mid is the most colorful usually and the root is somewhat darker and less intense in colors now because there is an overlap between the paint tip and paint mid we can cycle through and actually paint some of these areas a little bit more intense maybe i can keep this color and choose the bg and groom root so this is the green pint root and with the same color a couple hairs should be painted here and there okay so not much but a couple and look for okay some and i'm switching now to a darker one and playing that so adding some variety okay and now it's not bad so let me see how it looks in the render so hold on for a second shift r okay so i'm pretty satisfied with the hair colors i like tone uh there are a couple stray hairs but uh other than that it is okay so uh what else now the regularity and the uniformness of the hair clumps are are pretty tight and pretty clean which one makes it a little bit boring and here comes uh the grooming brushes uh in the play because that those brushes can break up the monotony of the of the airlines so i will save it and let me go and choose and use a couple of the clubs so bg and groom hair ball is actually a nice one [Music] let me start with the groom clubs and a couple hair balls bg and airball here again just to break up the surface so the very boring straight parallel hairlines with some break can be really exciting it's hard to see what actually is going on but as you see it's if i'm if i'm a little bit stronger with the brush it will perform better now i'm really light with the brush now so i don't want to add strong changes okay so it's uh it's fairly exciting to see um maybe i will switch to a different hair material because right now this this is not that nice of a hair material so let me switch to uh hair two and probably hair too will perform better with this particular hairstyle so let me zoom out a bit all right now uh so what to do what else to do um we can actually um assign a hair so if this hair material is good well we can go to any type of brush maybe bst standard brush and turn off the add make it material hair 2 is selected so hair 2 and we can go to brush and i'm sorry color and fill object so now the the material is assigned to the hair and another thing that bg and we can we can add hair balls or maybe there probably uh as a little bit of a groove spike so don't don't be afraid that uh even if you see less of a hair because there's a chance that you have fiber mesh and you have previous settings and the visualizations the number is a little bit less so if you want to see more you can turn on as previous actually it can help it might help you to to find the areas you want to break up okay so now i can actually see all all of the hairs so if i see some uniform areas i want to get rid of it's easier to find and actually paint their style here and there now these are also fairly boring so let me walk them down pull them closer yeah now pull them and rotation will give you a good information so maybe i should use a smooth brush so once you have this previous set to 100 it is easier to fix stray hairs so if you experience any kind of a flyer you can use that it's not easy uh at least not all the time because these flyers can really mess up things but the previous 100 can help you to get a grip on them and find them all right now the biggest strays are yeah that one was also a little bit of a mess slight rotation so if you have some imperfections uh that's okay uh come on you're making human hair so not a big problem if you have a couple flyers here and there alright groom spike still a bit more actually it's somewhat similar to the pinch brush but it it pulls with a different algorithm and this adds more 3d look of the hair so let me go back to somewhat similar view that we had previous times so this is this is the view and now i want to update and create a new render and check if this spiking process is about the time or not all right so shift r again okay so there's plenty of irregularity and it is uh actually believable um this is quite a nice uh haircut now uh if you want to add more uh to the to the actual image we can uh use a box modifier and we can also change a little bit of the behavior of the shadows so the shadow's a little bit strong now so what uh what i can do is just let me zoom out a bit and choose an angle and let me go and look for the material i'm using for the body and that is uh so close this up and choose material and put it in and select the skin shade 4 and choose vex modifiers and change the strength and the maximum fires are for the best ppr yes i'm pressing okay and why do we care about this because in the rendering area so render we have a bpr uh so render render properties and here we have box preview so now vox is enabled and the shadows are the bpr shadows and bpr shadows by default rays are set to 12 angle is set to zero i will set this angle to 20. that will spread a little bit uh the light and because lighter spread uh the shadows will be also a little bit more uh scattered and the rays because there's a scattered shadow uh if the rays are just set to 12 it's way too low so i'll set it to maybe 30 and change the global strength is 0.75 i still don't like it as it is because too much for my taste so like to carry this down to 0.5 for example and maybe the light source orientation is also a little bit boring so right now it's a straight from the top i will switch it and change it to kind of an angled uh way so now maybe maybe this okay so it's it's promising and let me test render this okay so here we have the hair uh here we have the figure um practically that is it uh i hope you uh enjoyed the video so there's still a lot of settings still a lot of work you can add but these are the basic principles to paint cut modify shape calculate and and handle hair okay so thank you very much and see you next time goodbye

Channel: MS3D

Views: 10,159

Keywords: ms3d, seljan, zbrush, hair, fiber, fibermesh, tutorial, beginner, full, complete, paint, human hair, cg hair, bob, haircut, hairstyling, print hair, 3D, digital, brush settings

Id: bRHt1JYqQL8

Length: 102min 44sec (6164 seconds)

Published: Mon Nov 02 2020