Blender Particle Series 1.1 How To Create Hair Particle Systems | Joe Baily | Skillshare

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Blender Particle Series 1.1 How To Create Hair Particle Systems

teacher avatar Joe Baily

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 5m)
    • 1. Welcome To The Class

      1:21
    • 2. Your 1st Particle System

      5:43
    • 3. The Basics Of Hair

      3:13
    • 4. Adjusting The Amount Of Hair

      7:44
    • 5. Child Particles

      6:39
    • 6. Object Instancing

      5:47
    • 7. Adjusting The Rotation

      7:44
    • 8. Randomizing With Physics

      8:31
    • 9. Testing Our Skills On A New Object

      7:39
    • 10. Using Vertex Groups For Density

      6:41
    • 11. Viewport Display Settings

      1:47
    • 12. End Of Class Challenge

      1:42
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About This Class

Welcome to this series on learning how to use particle and physics systems in Blender. In this series we focus on particle systems to really take our projects to that next level of realism and detail. This is the first volume of the particle series and so we will get started by learning about hair particle systems in particular.

Now it is not only hair that particle systems are used for. You can also use hair particles for grass or fur, and the possibilities expand far beyond that when you begin to used object instance in place of standard hair particles. You can then create sprinkles for a donut, stones and pebbles for a path, or cars on a motorway. We will learn not only how to use single meshes for particles, but also entire collections as well.

By the end of this class students will be able to do the following:

  • Apply a particle system to any mesh object

  • Control both the amount of hair and its base length

  • Assign a vertex group to a particle system to control its location in the setting

  • Manipulate the velocity, rotation and physics of the hair particles

A couple of examples of what we will be doing in this class including given Suzanne some hair and creating a grass plane.

We hope you learn a lot throughout of series on particles systems in Blender.

Meet Your Teacher

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Joe Baily

Teacher

My name is Joe Baily and I am an instructor for 2D and 3D design. I specialise in 3D modelling using software platforms such as blender and 3DS max to create virtual models and assets for video games and animations.

My alternative job involves teaching sport and PE in schools and so I have 1000's of hours teaching experience in multiple various fields. My goal here is that I always find great instructors in websites like youtube who are great but never give out enough content to really satisfy my own hunger for learning. Therefore, my goal on skillshare is to provide comprehensive quality teaching on any subjects that I cover, such as blender 3D.

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Transcripts

1. Welcome To The Class: Hello, ladies and gentlemen, and welcome to the blend up parts called Series Volume 1.1. This class is for blender users who wants to learn how to employ a particle systems in their scenes for more detailed renders. The class itself will be focused on learning about the application of hair parts calls to mesh objects. It is recommended to have basic knowledge of the blender interface and 3D modelling fundamentals. By the end of this class, students will be able to do the following. Assign a particle system to an object. Understand the difference between a particle system and a part called setting creates grass using a hair particle system. Control the length and amount of hair parts calls are a material 2D hair particles separate from the main object and vary the rotation and physics of hair particles and even replace them with objects instances. Let's now learn about particle systems in Blender. 2. Your 1st Particle System: In this video, we are going to be setting up our scene in blend up for this class and creating our first ever parts core system. Now the first thing I'm going to do is I'm going to replace my defaults cube with a plane objects. Simplify the visual for the particle system. So select the beef whole cube, press X and select delete. Then hit shift and I to bring up your Add Menu. Select mesh and client. I'm going to make the plane objects a little bit bigger than what the company is. The size is set to two meters. I'm going to increase this, the six. Now by changing the size of the plane in the operator panel, it does not change the default scaling he in the side panel. Now we have an object that is ready for our particle system to add a particle system to an object. First of all, make sure the object is selected. In this case, the plane is the selected objects. Then come over to the Properties panel. If you look to where the Modifiers tab is underneath it, you have the particle properties tab. Left-click to open up this tab. At the moment it's empty because we don't have a particle system. To add a new particle system to our scene. We're going to click on this plus button here. This will add a new particle setting to our selected objects. Now, the name that you see here, particle settings represents something slightly different to what you see here. So this represents the particle system itself. This represents the data block that is stored in. So what we can do, for example, is we can rename these separately, selects, just rename this as emitter. And then let's create a second particle system. To do that, we're going to click on this button here to create a new particle setting. It's going to give us the nine emitter dot 001. We're going to left-click and rename this as hair. If we go to this menu button here, we can choose between our emitter particles setting and our hair particles setting. You will notice there is a COO next to the emitter. This means that if we were to close blender, even if we were to save the project, this emitter setting will be deleted. On the next occasion that we open up the project to ensure that any unused particle systems are maintained. Make sure to click on the fake user button here. So it looks like an empty shield. Just left-click and you'll see a little tick. And that creates a fake user bought that particle setting. Let's do the same with the emitter. You can see by the wider we have F in front of hair. F stands for fake user. Let's select our emitter system. And then let's left-click to create the fake user. Now in this class we're not going to be using this setting. We are going to be focused on hair. But this is an important step to knowing how to maintain the multiple particles settings that you're going to create. Now this doesn't change the particle settings up here, this represents the data block that this particle system is stored in. You can create mult, multiple data blocks by clicking on this plus button multiple times. So if I hit the plus button again, we get particles settings dot 001. You can also delete a particle system by clicking on this minus button. The two buttons here represent the display in both the viewport and the vendor. If you turn this icon off, then the particle system is no longer displayed in the few ports. If you were to turn this option off, then the particle system would no longer be displayed in the render. Now at the moment, we have our emitter system. You can see that we have what looks like a sphere on our plane. If we hit the Play button down here in the timeline, watch what happens. Blend that creates a variety of paths calls around our mesh. And these particles are emitted and full using gravity. This continues throughout the length of our animation and resets when we hit frame one again. To stop this, hit the pause button. So you can see all of these particles have been created using the particle system. As I said before, we're not going to be focused on this type of particle system in this class. Instead, we're going to be working on hair particles and we are going to be taking a quick look at how hair particles are constructed in the next video. 3. The Basics Of Hair: In this video, we're going to be turning our attention to the hair particle system. So in a previous video, we took a look at how to create a particle system for a selected objects. Now we're going to take a look at the hair particle system in particular. So I'm just going to change my particles setting form emitter. And I'm going to change it to her. For our hair particle setting, I'm going to change the type form emitter to hair. You can see that instead of this phase, we now have heads that stick upwards. I'm just going to go back to the first trying, but because we're not using hair parts calls, if I press play to play the animation, the hairpin schools do not move. Now you can apply physics to hair particle systems, but they are not by default, gowns be influenced by gravity, like the emitter type is. Now what about the hair particle system itself and how it is constructed well, like the emitter system, it will create particles across the surface of an object. If we take a look in the Properties panel and just expand the view, you will see there is a difference in terms of the number of options that we have for the Emission setting compared to the emitter. If we go back to emitter, you can see we have the options for the start and end frames, lifetime, et cetera. With hair, the focus is on the hair length and number of segments. In the next lecture, we're going to be focused on exactly what each of these do. But right now I'm just going to highlight which of these we're going to be focused on during this class. So we are going to be taking a look at the emission settings. We also need to make sure that this option is ticked. So this option here, the Advanced option, is going to allow us to use physics to calculate growing hair. We're going to want to make sure that this is ticked. There are very few situations where you would not want this to be ticked because it offers several new properties. So we have velocity, rotation and physics that have all been added. When we checked this tick box. Of these, we're going to be looking at the rotation physics. We're going to be looking at render, viewport, display, children, and finally, vertex groups. So each of these terms to I've opened up, we are going to be covering to some degree in this class. By the end of this class, you will be confident enough to use the tools in each of these taps. 4. Adjusting The Amount Of Hair: Okay, so the first thing we're going to have to deal with is the amount of hair that we have emitted form our particle system. And we're focus therefore is going to be on the options in the emission tab. So first of all, number. The number represents the total number of particles for our particle system. It's fairly self-explanatory. If you reduce this number, you reduce the number of hair particles in total. You can go all the way to 0. Increasing does the opposite. Now keep in mind that particle systems make it very easy to crush blender. So make sure that you know the limitations of the device that you are using before having your number value set to any extravagant amounts. I'm just going to set this to 1500. For the moment. Below that we have the seed option. Now if you're not familiar with the term seed, creates a random generator. So even though the seed value starts at 0 and can go up to 123, et cetera. Each number basically represents a randomized result. In this case, it changes the way the hair particles are emitted. So the hair particles are emitted from different locations with each of these different seed values. The next option is the hair length. This is sets of four meters by default, I have no idea why. It's still that long. It's been like that for years. But for the purposes of your projects, you're going to want to change the hair length to whatever suits you. For example, if you are creating a glossy field, you may want to reduce this down to a really low value. May be something like 0.1. As you can see, this makes our glossy plane look a lot more bound. So in contrast, if you reduce the hair length, you may find that you may need to increase the number of particles. In order to counteract this, I recommend as a rule of thumb to adjust your targets hair length first before deciding on a permanent number. So I'm going to actually now increase this to 2500, just so we have some more hair on our plane. The last option you see here is the number of segments. Now the number of segments is basically a quality step. So when you apply physics effects like Brownian motion, the higher this value, the better the glass is going to look when you apply it. Certain other properties. Five is actually a really good defaults here. And I rarely changed from this because the individual hair particles are not going to be the main focus of any scene in particular, especially when you have a very high amount of them. So I recommend having anywhere between 35 segments for your emitted particles. Finally, you will notice that we have an additional set of options here under source. So you can choose whether or not you want to emit from the face. Or the volume or the vertices. Now, very quickly I'm gonna show you the difference there by creating a different objects. So let's creates a UV sphere and just drag this up. And for this emitted objects, we're going to have a particle system. So we're going to press this plus button here. And we're going to choose our hair setting. Actually we're going to just create one from scratch. And here you can see that the hair particles are pointing out in different directions based on the direction of each individual phase. For our UV sphere. I'm going to hit the period key to zoom in on our sphere. And you can see where the particles are being emitted form. Here. We can choose if we want to emit from the faces or from something else. And so if we emit from the vertices, for example, then the hairpin scores will only be emitted from the vertex points, not the actual faces. Now this is going to limit the number of hair particles that you can see based on the number of vertices on your model. But it also is going to allow for perfectly even dish distribution because then it's going to be based on the actual geometry of your 3D model. Alternatively, you can choose a volume. And if you choose volume defects looks a little bit similar to the faces. But if we go inside our UV sphere, you can see we have a bunch of hair particles that are just hovering in mid air inside of our object. And that is different compared to faces where all of our hair pascals are positioned outside of the object. As we are beginners to particle systems, let's just keep it set to faces for now. And you can also choose to use the modifier stack. So this basically allows blend up to calculate where the hair particle should go based on any active modifiers, such as the bevel or subdivision surface modifiers. There are other options that you can change here to change the distribution. So we have the juiced distribution method here. We can change this to random if we want. This changes the number of options available. We can also choose whether or not we want to randomize the order of the emission and whether or not we want to create even distribution. This isn't going as create perfectly even distribution between all of our hair particles. But it's going to attempt to as best it can. If we turn this option of, then you're likely to find areas of your surface that have very few particles and then areas of the surface that have many more particles. If we go back to the jittered method and we have the particle to face way show above. So when it's set to 0, this particle phase ratio basically allows for as many hair particles to be emitted from each individual face as blend up will permit. However, by increasing this value to one, it restricts the distribution so that we can only have one hair parts called extruded from each individual face. The higher this value, the more particles can exist on a single face. Again, I recommend keeping this set to 0. So we've taken a quick look at how to increase and decrease the number of hair particles on our model. And how we can make changes to the way the hair particles are distributed on its surface. In the next video, we're going to be taking a look at child particles. 5. Child Particles: In this video, we're going to be looking at creating a child particles. Now, a child particle is a particle that is created based on the properties of its parent. In terms of hair particles, this means that child particles are going to inherits the physics that are applied on the parent particles. Now I've used particles a lot in those free sentences. So I'm just going to show you what it looks like when we create child particles in blender. So we're going to scroll down until we find children. Now we have free options here, none simple and interpolated. So none is the default. And when we have it set to none, we don't create any child particles. If we go simple, then we create child particles based on the location of the parent particles. Now it's important to note that when you have child particles, the parent particles will not be rendered, but their properties will be inherited by the children. If we take a look below, we'll see two important options. The display amount which is set to ten, and when the amount which is set to 100. So this value here is a multiplication of the value that you see. And I'm just going to close some of these. So it's based on the value c here. So if we have 2500 particles here, then we display ten Child particles for every one of these. So now on screen you can see around 25 thousand emitted particles. The renderer amount is obviously much higher, so it sets a 100. That means that it's roughly 100 times higher than this value here. So what you can do is you can set this to a much lower value, say 50, and press enter. Then you could increase the display amounts to create more child particles per each hair particle emitted. So we could go, for example, to 100. Now what you'll notice here is that the particles end up in batches. The reason why is with the simple setting in particular, the children are going to be based on the general location of the parents. Now what happens if we choose to go interpolated? Well, interpolated seems to be a much more spread out, evenly distributed result. It's also better in another respect, if we go back to the simple option, you will be able to see, for example here, that's because the child particles are based on the location of the main parent particles. They actually don't focus on where the ground plane is. So some of these hair particles actually appear off of the ground plane. You'll be able to see this clearer if I increase the number of particles. So if I increase this back to psi. Roughly a thousand. You can see how many hair particles aren't even on our surface anymore. This is one of the main reasons why most people would nearly always go interpolated. Because with the interpolated option, the results are much more accurate and more evenly distributed. So you can have all with the child particles positioned on the ground plane. Now below you will see several options. So we have the length, threshold and seed in particular. The length is going to adjust the total length of the child particles based on the length of the main parents. A value sets one. All of the child particles are going to be the same length as their parents. We can adjust this factor here so we can reduce it as low as we feel we need to go. And this is another representation of the fact that the parent parts calls are not rendered by default. So you can't see any of the parents, even when we would choose this length value here. The option below it relates directly to this length value. And so the threshold will basically, as we increase this value, it will increase the number of child parts calls that this value ignores. If we set this auto out to one, then this value no longer has any effect on our part system. Because we're basically telling blender that or would the child particles should ignore this length value. The lower value is, the more child pass calls are going to be affected by the length five you determined. Here. We can randomize this affects with the seed option. So again, set to 0, but each time we change it, It's going to change which child particles are affected by the two values above. Now we're not going to go into all of these options here. Because otherwise that would take, well, probably free classes in itself. But I recommend before moving on to the next lecture is a play about with some of these options. In particular, I like to play about with the clumping option. This is going to allow us to create some clumping effects of the different bits of grass around our model. And it's going to allow you to create a more randomized, more natural look for your particle system. So for example here, I like to set it to a very low value and then manipulate the shape. Just a tab. And that just creates that little bit of randomness that we like to see with our particle systems, especially when creating things like hair and claws. So again, I recommend just take it some time or playing with some of these options here. And then I will see you in the next video. 6. Object Instancing: In this video, we are going to be taking a look at a process known as object instancing. This is where we are going to replace hair particles with actual mesh objects or instances of a specific objects. Now to do this, we're going to first of all just go back to our glass one option. And basically all I wanted to create a series of stones or pebbles and position them where we don't have our grass. Now the first step to that is creating a new mesh object. So I'm going to hit shift and I go mesh, select UV sphere. Now this is way too big. We're going to reduce the size down to Point, COO free. And let's just grab it and drag it up on the z-axis. Now, I'm going to hit the period key to zoom in on our new sphere. And because we now have multiple objects in our scene, we're just going to rename these to ground. And this sphere is going to be the pebble base. So with a pebble base, all I'm really going to do here is just go into edit mode and scaling on the z-axis to flatten it. And also scale it's on the X axis as well. But just a bit. So we get sort of like a pebble stone here. We're going to go back into object mode, select the ground plane, and hit the period key so that we can focus on our ground plane. By the way, that's the period key for the number part and not bored the main keyboard. What we want to do now is we want to create a new particle system for the pebble base. So we're going to select the ground plane. We're going to click on this plus button here. Because we need multiple data blocks. If we want to use multiple particle systems at the same time. We're going to just rename this as pebble. And we're going to rename the first one as glass. So for our pebble system, we're going to set it once again to hair. We're going to set the particle system itself. Would a possible setting. To Pebble. Click Advanced. Then we need to come back to where we have this render option here. The first choice we have is to render us. So we have it set to render as path. If we open up this menu, we can see we have four options, none, path, object and collection. Now we're going to just use a single object for this. But the principle is the same for using collections, which is effectively a series of objects or used for a particle system. We're going to select objects because we only have one to use. And when we do this and nothing appears to have happened to our ground plane other than the fact that the hair particles have disappeared. We need to do now is we need to go to where it says instant objects. And if it's invisible, it will probably look like this. So make sure to open up this object menu. Left-click and then select the appropriate object, in this case, the pebble base. You will now see that we have a series of pebbles littered around our playing. And they were a bit small at the moment. So what we can do is we can set the scale value to one. And now the pebbles look too big. So I always like to scale this up to one and then reduce the hair length up here. So let's reduce this to luscious, reduce it to one for now. And I think that's a reasonable size for the pebbles. Now you can see that there are several issues that we have in terms of the orientation and direction of these individual particles. Don't worry, we're going to be dealing with these in the coming lectures. But for now, we just want to assign the pebbles to the appropriate areas of our plane. To do that, we're once again going to go to our vertex Groups menu, go density, and go grass. One. You can see that this time it has actually been applied to all of the areas where the glass particles have not been positioned. If we were to click on this button here, it would reverse this. So now the pebbles are located in the same areas as the glass particles. May shorter have this option to whatever suits your needs. And that sets us up for the next few lectures where we're going to be able to begin fixing some of the issues that we have noticed with this particle system. In particular, the orientation of our individual pebbles. 7. Adjusting The Rotation: In this video, we're going to begin looking at how we can fix the issues that we see with regards to our objects based particle system. So when it comes to the location of the particles, we have these pebbles set exactly where we want them. We have them set in the areas where there is no grass. And that just adds a little bit of extra fermions to our scene. However, if we try and zoom in on one of these particles, you will see that they are, first of all, all pointing upwards. You will also notice if you go underneath that half of each pebble is located above the plane and the other half directly below. But let's take it one step at a time. Where we created the instance objects. You have some options for the object scale, object rotation and global coordinates. Objects scale means that the pebbles are going to be based on the original scale of the base objects which is located up here. If we were to actually turn this off, nothing is actually going to change. That's mainly in this case because of the scale and length values that we have set up here. But what you can also adjust this scale randomness value so that each of the purples appears as a slightly different size. So I like to just have this at around 0.2 to 0.3 just to get a little bit of variance, but a sizing of our pebbles. I also like to make sure that objects scale was ticked. And above that we have objects rotation. So this is where it's going to mirror the rotation of the base objects. We do this. We can see that things are a little bit better. They have been rotated. But it's still not quite what we're looking for. If we choose global coordinates, watch what happens to the particle system. All of the particles end up above the ground plane. Because now the Pascal system is using the location settings for our pebble base. And the pebble base is set a good 1.26 meters above the ground plane. So in this scenario, we don't want the global coordinates to be ticked. Now in order for us to sort out the issue with regards to the orientation, which as you can see, we still have this issue of it passing through and we also have the issue of each of these pebbles being orientated in a different direction to our base particle here. What we need to do is we need to go to where it says rotation. And click on this checkbox here. Then we need to open up this menu and you will see we have a variety of options. So the first option is the orientation access. Now there are a variety of different orientation axes that you can choose. And you can go through each of these to see if there is one that works for you. And that's a make things nice and simple. I'm just going to tell you which of these options to choose for this scenario. So if you look down here, you've got the object x, y, and z axes. These are relatively easy to understand as they use the axes for the selected objects to determine the orientation of the particle system. If we go object C, it doesn't appear as though anything who's changed for our particle system. So we know that blender is already using the object c axes. Even if we go with the velocity hair option. If we go objects, why? We get a much better look now? So we have the flat side of the pebbles on the top and bottom this time. This is the same as we have our base mesh that's located up here. So you see that we have a flat side on both the top and bottom. But it's also pointing along the Y axis. Whereas these pebbles, 40 Pascals system itself, are actually pointing along the x-axis. So what we can do is we can choose the one we haven't picture objects x. What that's going to allow us to do in this scenario is it's going to allow us to have each of the particles orients hated the same way as our main pebble base. So that's another issue solved. Now at the moment they're all facing exactly the same direction. You might want that, you might not. A few things that you can try as you can adjust these randomized option and phase options. And that's just going to change the orientation based on the values you sit here. I recommend not changing them too much. So I might change a little bit of phase. And the very slightest bit of randomized phase. Like so. And he just create just a little bit more randomness. And you hear me use that term a lot randomness. But when you're creating really any scene that you want to make natural, you need to have that sort of randomized element to it. Because in a real world, not every pebble is going to be pointing in the exact same direction, nor is every single strand of glass governs be pointing directly upwards. Final thing that we need to fix before we move on to the next lecture is going to be the issue of having half of our pebbles located underneath our base mesh, the ground plane. To fix this issue, we actually need to fix the pebble base itself. So select the pebble base and zoom in on it with the period key on your number part. Then we're going to move the object origin to the bottom of the base objects. So the object's origins actually what's causing the issue with the particle system? What we need to do is we need to enable snapping located here and open up the snapping many. Then we need to select a vertex. Keep all of these options as they are. Go to options, and select effect only origins. Left-click. And then what we can do is we can hit the G key and snap the objects origin to this bottom vertex. Left-click. Come back to options and turn off this origins tick box. If we then focus our attention back on our main particle system, you'll be able to see if we go underneath that, a lot less of these particles is now appearing underneath the base ground plane. The pebbles are predominantly above the ground plane, which is what we want. 8. Randomizing With Physics: In this video, we're basically going to be tidying up arsine orbit and then applying just a little bit physics to create a slightly more natural look. So a couple of things to, I'm going to change here. First of all, the pebbles need their own material. So I'm just going to select the pebble base, go material, click new. And let's just creates a sort of greyish material, give it a very small hints of color. Like so. And then if we preview this in winded view, yet we should be able to see that affects if we just manipulate the color value here. Yep, so we've got the color of our pebbles. We can also see that the main objects here has not been shaded smooth, so we're going to need to fix that by just going. Objects, shapes, move. And are you can see that all of the pebbles and license move on the ground. The next thing that I want to fix is the number of both the pebbles and also the glass particles. So we're going to go and select our ground plane, go back to our particle systems with the pebbles. I want to increase this. So I'm going to use interpellate children. That's a bit too many. So we're going to go free the display commands. And then let's go 54 the vendor amount. So that looks pretty good. We just come away from our view. That looks pretty good for the pebbles. Now if we go back to our grass, we're just going to increase this value. So I'm going to set the number down to 500 and then increase the display amounts to 200 and the render amount to 300. Obviously, changing the random renderer Mads isn't going to change the number of airports cause that you see in the 3D viewport. If we take a look at this from the side view, we can see it's lush with color. But we take a look from a top down view. You can still predominantly see the ground plane. What we can do here is we can just change this by adding a little bit of physics. We're going to close up the child menu here and open up the physics many. Now you'll see first of all, we have the physics type. This is set to Newtonian. This is already exactly what we want. You can have it set to none keyed boys, fluid wherever you want, for whatever you're creating. But for grass, Newtonian is the ones who pick. We also have the mass. Now the mass value is strongly related to all of the options that you'll see underneath. So you have the ability to apply forces. The flexion and integration settings with this physics type. If you change the physics type to say fluid, you're going to get a very different set of options and a very, very different look to your scene. So let's just go back to Newtonian. And then we're going to change this Brownian value. Now, as you may points out, yes, the mass value is way too heavy for glass particles, or you may think. But actually all this is is a calculation. So we increase the Brownian value. You can see that as we do this, we are creating a lot of what's known as Brownian Motion for our hair particles. And it's forcing them to sort of curve and rotate in different orientations. But when it comes to manipulating these forces values, you have to be very careful about how much you influence and bite. So here we only have it set to 0.004. Yet the change to our model is quite substantial. I always recommend experimenting with these options at very low values. So for example, 0.005 and then press Enter. And that just creates a little bit of variation for the positioning and orientation of the individual hair particles. Remember that the child pascals are influenced by the physics applied it to their parents. So anything you see here in this menu is actually affecting the parent particle and is then being applied to its children. This is why if you focus on a particular sets of child particles, you may notice that they are still behaving in the same way as each other in each little area of our scene. Be warned that if you manipulate this mass value, then any changes that you've made here are going to be exaggerated significantly if you would use the mass. So if I reduce the mass, you will gradually see more and more how it affects the hair Pascals. In this scenario. To correct this, you would need to further reduce your Brownian values. So I could go 0.001, press Enter, and that will correct it to some degree. For now I'm just going to increase my mass value again. So let's go somewhere like little bit heightened baby here. And that creation is that little bit of variation that we're looking for. Now you can also play with some other values, such as the drag value, already damped value. And you can see the damped value here actually ends up affecting the height of our glass particles. But it does so almost like it's sort of like just shooting upwards, but also increases the amount of glass that's visible and underneath quite significantly in fact. So why recommend doing white now, before moving on, it's just play about with many of these settings to see what effects you can come up with for your hair particle system. Now before we go, you might ask the question, how does this impacts a particle system that uses objects instead of just hair particles? Well, let's take a quick look at doing the same things with our pebble system. So we're just going to change from grass to Pebble. We're going to come down and we're just going to manipulate some values. So let's manipulate the Brownian value here. And nothing appears to change until we actually go to a much higher value. Then what it seems to do is it seems to in-flight all of our pebbles to ferry in-degrees. Now, keep in mind that you are using a base mesh for your pebbles. So you're going to want them to be the same sort of shape as the original base. The only things you're going to want to change our perhaps the general orientation and direction of the individual pebbles and to a degree, the sizing as well. But you're not going to want to do that with these force options here. You're going to want to do that with the actual hair length along with the base scale of the object. And the application in the Render Settings. 9. Testing Our Skills On A New Object: Okay guys, so before we finish this class, I have one little challenge for you guys to complete. I want you to basically use a lot of the skills that you have learned in a new file. So you're gonna create a new file. And in that new file where you are going to create a suzanne objects, if you don't know what Suzanne is, you just go shift I. While your mouse cursor is in the reports. Go to mesh and select monkey. This is Suzanne. You can see the name in the outline, a panel. You're then going to use the subdivision surface modifier. And a really quick way to do that is to just hold down the Control key and press numbers one through five depending on how much detail you want to add. So I would go control or for example, to smooth out Suzanne. And then you're going to apply free particle systems. You're going to apply a particle system that the heads. So this area here, you're going to apply a particle system for the eyebrows and a particle system for the bead. So what I want you to do now is I want you to pause this video and give that little challenge ago. Then it come back to the video and we're going to see how I would complete this challenge. Free to one, pause and go. Okay guys, so what I'm going to do is I'm just going to save my file and then create a new one. I'm going to delete my default cube and replace it with Suzanne. Then I'm going to hold down the Control key and press F4 on my keyboard. To use the subdivision surface modifier. You can confirm if the modifier has taken effects by going to the Modifiers tab, where you should see the modifier with the correct level for the viewports. I'm just going to drag this out a little bit. And now we're going to add free particle systems to Suzanne. So come down to the particles tab and click the plus button. And we're going to do that three times. So we have free particle systems. The first one is going to be the head, the second is going to be the eyebrow. And the third is going to be the bid. We need to make sure that each of these are selected as hair. And also make sure that the advanced options are ticked. Just as a matter of habit. Next, we're going to assign the vertex groups. So we're going to first of all just hide the eyebrow and the bead form the viewports. We are then going to go into weight pain mode. And we're just going to paint the top of Suzanne's head. I'm just going to increase the radius and then just click and drag. Now we can still see the hair particles and that's slowing down our performance. So we're going to also hide our hair particles for the head. You should now look a bit better in terms of performance. And so we're just going to click and drag. And it doesn't need to be perfect. This is just a demonstration to something like that. Maybe drag it down here as well. And that pretty much covers the head. So now we need to go to the object data properties and just rename this created vertex group as head. Then click on the plus button to create a second vertex group. We're going to see when this is going to be our eyebrows. So I'm going to reduce the radius here and just click and drag along the eyebrows. That will do for one side. Let's do this side as well. We're going to rename this as eyebrow. And then one more vertex group, which is going to be our beard. That she's come down here. I'm going to increase my radius again. Unless just paint at the bottom of suzanne, making sure not to cover our mouth. So we'll go to bat he and just a little bit more. Around here. There we go. So now we have free vertex groups. What we need to do now is go back to our particle systems, go into object mode. And what we're going to do is we're first of all going to assign the head. So make sure it's in view, in the viewports. Come down to where it says vertex groups and where it says density, select head. Then we need to do the next one which is going to be the eyebrow. So make sure the eyebrow is in view. You can make the head invisible if you want. Again, it go density and select eyebrow. Then finally, we need to select the beard. Make this visible, go density, and select the beard. So now all I need to do is just reduce the hair length for each of these. So we go one. Then we have the eyebrow. Make sure it's selected to here. And then finally, the heads to about here. Let's increase the number. Maybe even add child particles as well. And you can see that Suzanne is coming along nicely. We've got some hair, we got some eyebrows, people, so got a beard. So I'm just going to finish off by just adding child particles to both the eyebrow and then the beard. And then you could go on from here. And then you can manipulate things like a rotation physics further adjust the hair length, even add separate materials to each of the particle systems. So if you were able to complete this little mini task, congratulations, and I will see you in the final video. 10. Using Vertex Groups For Density: Okay, so now we're really starting to make some progress with regards to the look of our scene using particle systems. What we're going to do now is we are going to tell blender exactly where on our plane we are going to want our particle systems to be. Now if we go into solid view and then edit mode for our object, you will notice that we have very little geometry. We're going to need to change this. You will also notice that here particles are not displayed while in edit mode. This is to save on performance. Now, we need to first of all, increase the geometry. So we're going to right-click and choose subdivide. I'm going to open up the operator panel, but a subdivide tool. I'm going to left-click and I'm going to really increased the number of cuts so that we have a lot to work with. So I'm going to increase the number of carts to 60 and then press enter. Now we have a lot more geometry. To define exactly where we want our particle systems to be placed, we need to create a vertex group. Now there are two methods to creating a vertex group. The first method is to just use a standard method of selection. Select the vertices that you want, and assign them to a vertex boot. So let's demonstrate this now. I'm going to create a vertex group by making sure everything is these selected. And then I'm going to go up here, go circle select. Let's increase our radius. And then we're just going to create a random selection, making sure to hold the Shift key like that. So now we've got this random selection here. We're now going to add the selected vertices to a vertex group. So come down here to this icon for our object data. And the first property you see is for vertex groups. We're going to hit this plus icon here. That's going to add a new vertex group and we're going to click assign. So anything that is selected is assigned to this group. We're just going to rename this as grass one. So now what we're going to do is we're going to take this vertex group and we're going to use it to determine the density of our particle system. We're going to go back into object mode. Again, you can see the hair particles, nothing has changed at this point. We're going to go to our particle properties and scroll down until we find vertex groups. Open this up. And the first option you have is density. For now, I just want you to ignore the rest. We're only focused on density, so we are going to left click and choose glass one. Watch what happens to our particle system in the 3D viewport. So select loss one. And just like that. The hair particles on now assigned to the selected vertices from the vertex group. We can also invert this effect by clicking on this button here. So left-click to inverse the hair particle system. Let's show you the second method of creating a vertex group. The method for applying it to the particle system is designed. But if you don't want to use the standard methods of selection, you can also use weight painting. So what I'm going to do is I'm going to go back into edit mode, de-select everything, go into a top view. Then I'm going to go into my await Paint mode. And you can actually see here that blender has already defined the areas based on the vertex glues we already created. So I'm gonna go to my object data properties and click on this plus button. As soon as I do that, you will see that everything appears blue. This means that with this vertex bloop, nothing has been selected. So it all appears the same. If I was to click and drag, you can see that we get a change in color. So we're painting on our plane here. Red means maximum influence. As you go close to blue, the influence is reduced. So what I'm going to do here is I'm going to increase our radius quite a bit. And I'm just going to do a little bit of painting. You will notice in White Painting mode that performance catalog on an older machine. I can say with certainty lagging a little bit on my machine right now. So I don't need anything too fancy. This will do for me quite nicely. What I'm going to do is make sure that this is a sign, so it's currently set to group. We're going to name it as glass two and press enter. Now if we go from white painting into edit mode, you can see that nothing has been selected. So white painting applies these vertices to the vertex group directly. If we select gloss one, we get glass one. If we select gloss to, we get this second map. So now what we can do is we can go into object mode. And you can see we still have the density set to the first grass vertex group. Let's change it to the second one by just going back to our particle settings, left clicking on grass one, and then choose gloss to. So this way you can actually create multiple particle systems or multiple vertex groups, I should say, and test out each one with your particle system. Another thing that you can do is create multiple particle systems and apply a vertex group for each. And that will really bring your scenes to life. 11. Viewport Display Settings: The last thing that I'm going to be demonstrating in this class is going to be the amount of particles that you will see in your Fourier the viewport. So this is just a little trick to help improve few poor performance if you're using an older machine. To reduce the amount of particles that you can see in your 3D view port without actually getting rid of any of your Pascals, is to just come down to where it says viewport, display. Open up this option. And she will have this amount setting. It's currently set to 100%. So you will see all the particles in the 3D view port. By reducing this value, you will reduce the number of particles that are visible. Keep in mind though, that you will see the behavior in this case, actually takes it along the x axis. So by reducing this value, the amount of pebbles that are hidden from view is not randomized in this SPECT. You can also do this with your standard hair particles that we use for glass. So we come back to our class particle system and then come down to where we have our amounts value. We can reduce this value to reduce the number of hair particles that are visible. And this is sort of a full back for those of you who may be struggling when it comes to the performance of your machines when using multiple particle systems in Blender. 12. End Of Class Challenge: Congratulations, ladies and gentleman, on completing the first class of our blend up parts called series. It is now time for us to take the end of class challenge to assess the skills that we have learned in this class. For this challenge, you must complete the following scene using particles. Create a scene where a suzanne objects is sitting on a stump in a small grassy field. Make this suzanne objects look like an old man using hair particles. Use vertex groups to create patches of grass around the main objects. Creates a glass base mesh and use that instead of the normal hair particles for the glass using object instancing, randomized the rotation and other effects to create a more realistic scene. Make sure to control the amount of hair particles visible in the viewport to keep your performance levels high. Finally, add materials and lighting to your scene and create a render. You may need to use your CPU to avoid memory limits. Keep this in mind as you create your scene. Complete this challenge now guys, thank you for taking this class on particle systems in Blender. And we hope to see you next time.