Sculpting Hair in Zbrush

1. Lecture 00. Introduction: Hi, everyone, and welcome to my course on Sculpting hair in that brush. My name is Anna Viganska and I am a senior three character artist with over ten years experience in game Dov industry. I have worked for projects of such studios as Blizzard, Thib Syndicate, Ai games, Ride Games, merchant, many others. Over the years, I have developed a structured yet creative approach to sculpting hair, one that balances from flow and personality while staying production friendly. This course is my complete breakdown of that process. Will start with the blockout phase where I will show you how to approach the overall silhouette and volume of the hairstyle. From there, we will move into layering and shaping, building rhythm and structure while keeping the design readable and dynamic. I will take you through how I add flyaways and refine the sculpt from visual interest. And finally, we will move into polishing and adding poly pain to bring everything together. This course is perfect for character artists looking to improve their stylist workflows or for anyone who wants to build confidence when sculpting my goal is to help you not only to understand the technical process, but also feel inspired to experiment and develop your own voice as an artist. I'm excited to share this journey with you, so let's get started. 2. Lecture 01. Theoretical Part: How to sculpt hair in that brush. We will talk about the theoretical part, and in other four lectures, we will proceed to the practical part. And I can assure you that using this technique, you can create hair of any complexity. I use this technique every time when I sculpt hair and nothing changes. Any stylist hair can be created using this technique. On the screen shirt, you can see different hairstyles of different artists, and I know how to make each of them because each of them I can create using the same technique which I use for creating any of my hair. This slide, you can see the hair which was created by me for all my projects. You can find here the hair which we're going to create at this course, which is in the middle, the hair which I created for my personal projects. This is all same technique. On these two screen shoots, you can see the hair, which was a commercial project and I used it even when I was sculpting hair for my commercial tasks. This tutorial, you will learn how to create complex hairstyle with braids. I decided to show you absolutely everything, and in this tutorial, you'll find out how to create braids without using any braid brushes from the Internet. Brad brushes from the Internet are good, but they are not for every hairstyle, and I think you should know how to create braid itself in case if the hair braid brush is not working for your needs. You will also learn how properly to detail the hair because very often I see on the works of my students and in general on the Internet that people have problems with understanding to which extent the hair should be detailed. And we will also talk about thistle course will also define the direction of each strength to make it look appealing. Hair is always about appealing. It should be aesthetic. It should be appealing. It should be looking nice and it's not that easy to make each hair strength looking exactly what we need. We will also enhance the hairstyle with flyaways. Flyaways are small little hairs like what you see here, here, here, and I will show you the quick way how we can create these flyways, I don't know, in ten, 20 minutes for the whole hairstyle. Also will understand on what you need to focus first when you look at the hair concept. Because when we look at the hair concept, we usually get lost and don't understand where to start, how to proceed, how to make it look nice, how to make it looking neat. I will explain all this in this tutorial. Of course, we will create the hair that looks aesthetically pleasing, detailed and clean at the same time. This point is very important for creating not only hairstyle, but also whatever you do in three D. So let's proceed right now to the theoretical part and let's talk about what you need to understand from the concept. The first thing which you should understand from the concept is what is the style of your hair? There are different styles of hair. Here, I will show only three styles and what you should understand from them when you look at the concept. So if you look at the first picture, actually, this concept we will use as a concept for creating our hair. And the style of this hairstyle is everything round. You can see that every single round, there are a lot of C and S shaped lines, and this is what you should keep wind while working on your second example, which is here in the middle, what we see from this stylization, the lines are almost straight. Everything is choppy and angular, and it's not usual hairstyle which we can find in the Internet. So while creating your hair, you should also think about the minor details which create the whole style of the hair. And on the last example here on the suit you can see that the stylization includes sharp angles and lots of points of tension. So what we see here, it is not like the first one, not like the second one because it has just sharp points, and at the same time, it has a shape hair. So it's something in between between these two hairstyles. So first, when you look at your concept, paint about at least 5 minutes to understanding what style of lines does this hairstyle have. Next thing which you need to understand from the concept is the number of strengths. Yes, we count our number of strengths. You need to create exact number of hair strengths. Here, it happens that not all the strengths on the concept are clearly defined. But in this situation, yeah, we can use our imagination and add our own strengths. But those hair strengths, which we can clearly see on our concept are very important to produce also on your three model because your client has paid for the concept artist to do his job. And right now he wants to see the exact copy of his work in your from the concept, it's not clearly understandable the amount of strengths that happens very often. You can use your imagination, and sometimes it is better to split the large strength into several, especially those which are near the face. Those which are behind from the back, you can still live as big ones, but those which are in front of the head, it is better to split them in smaller. But again, follow the concept. What we do with areas which are unwisb from the concept. For example, for this concept, we have only this view. We don't have our back view. So in this situation, you need to find the reference in the simular stylization. The closer to the concept, the better. In this case, this is my hair, which was sculpt in this tutorial, and this is a reference which I found, and my task was to make something between this reference and this reference. But again, without this reference, it would be very difficult for me, and I would spend more time. Also, pay attention to the direction of the strength. Even straight hair, as we see on the reference, is not very straight. It has specific directions, specific shape. So don't make hair just straight unless it is defined by the style. Also, the hair in general has primary and secondary direction. We talk about primary direction, that means that we take all our hair and we try to identify what the global direction my hair has. When we're talking about the secondary direction, it is a direction of each and every hair trend, and it can be different. In general, it should be dependent from the primary direction, but inside of the primary direction, it can have, and it should have different as in directions. Detail detailing is part which usually very complicating for junior artists because everyone tries to detail the hair as much as possible. Like you can see here, there are a lot of a lot of details, and in the entire hair looks messy, don't exaggerate. The detailing should not be that messy. And how to do the detailing, you will find in one of the lectures of my tutorial. That's a very important thing which very often overseen by junior artists is tips. Your tips should be sharp. Round tips doesn't look like hair, so you will need to refine your tips in that brush to make your hair looking really good. And again, how to do this quickly and without spending all your time for making the sharp teeth, I show in the lecture. Other common mistaqe and the strength should lie on top of each other, not pass through each other. You can look at this picture and you can see that very often, we hurry a lot, and we see that our he strands are intersecting logically into other strands, which is not good, which is not great, which is not looking nice. And this problem, this mistique reduces your score of the portfolio, let's say, metaphorical score of your portfolio. So on this screenshot, you can see the way it should be done. And the last and the theoretical part is it's very important to create layered hair. What does it mean? As you see on this picture, I have three layers of my hair. So we have the one which is under all the hair, then the second and the third. When you create your hair using this in mind, you enrich your TD model. Your hair will be looking really cool and much more interesting than if it were created just as one layer. 3. Lecture 02. General Blockout: Hello, everyone, and welcome to my first lecture, how to create hair in that brush. And right now before we start, I'm going to show you the final result, the main concept, and the reference which I choose and why. So this is the main concept which I'm going to use for creating this hair, and this is the final result which we are going to have. We have here the hair itself, fly waist, braids, and so on pretty complicated hair. But if you learn how to do this type of hair, any types of hair will be easier for you to do. So since this is our main concept and we don't have back view, nothing like this, we will need to think ourselves how the back view is going to look like. And I chose some reference. So I choose this reference as an example of how the hair is going to look like from the back. Same as this one, how the hair is going to look from the back. I don't plan to make it that wavy. My hair is going to look like something between this reference and this reference. This is just an example of hair in general, flyways and all the things. So right now when we are ready to start, let's move to Z brush. Also, I want to remind you that after the first lecture, you can watch the full time lapse video where you will follow everything what I'm doing here in Z brush while making my hair because right now, I'm going to show you the principles and how we should think when we create the hair. Here is our concept. And this is I took one of my models. You can take any of yours or use the standard models from Z brush, and this is how your hair should look like after this first lecture. Nothing fancy, nothing close to the concept, but our head is already carved with hair. So the main thing which we will need to do right now is to cover our head with hair clums. The main point here that the whole head should be covered. Later, we will add more hair clums. But for now, we just need to make the big hair cloms which we have on the hair. So when we look at the concept, we don't care about small flyways about what is in here. We don't care about this one. We didn't care about this hairs, we didn't care about this about this, about this small. So we didn't care about this. We only think about the big hair clams which we have on the concept. And we create we start with creating only those hair clams which we see on the concept and the amount of hair clams which we see on the concept. So we can say that here we have one that we have kind of second, third four, five, six, p one, seven, eight, nine, but that's already hair bread. So we create only big hair clams. Right now we are not very much concentrated on nice lines, so you will not get them here at this stage. We care about the amount of hair strands which we have on the concept, so we are trying to make same amount of them on our model. So how to start with hair. So there are a lot of different aches, my approach is that each hair strength should be separate mesh. That's obligatory. Don't sculpt hair from one mesh hair will not looking nice unless you don't have years, years, years of experience. However, if you have years years of experience, I don't think that you are at this course right now. We start with creating the first hair clamp. The easiest way to create the first hair clamp is to go to IMM brushes and select here like consort sphere. This one. Then you need to go to any Subtool which doesn't have subdivisions because insert mesh brushes and will work with subdivisions and somewhere on your hand, you just move your pen and create the first spheres which we have here. Then we select solo mode and we see that this is our subtol which doesn't have subdivisions. This is our first strengths, and what we need to do we need to separate the strengths from our existing subtol. So we go to split, and here we have split and masked. Or split mask, it's up to you. Next, I turn off symmetry and I delete one of the care clowns because our hair is not symmetrical. So right now, I've just hidden, and then we need to delete it actually. And to delete it, we go to geometry, modified topology, and here we have delete hidden. Done. Next. We go to here, we should decide which hair climbs we're going to make first. Let's start with this big one. So what do you do? I select the snake brush, one of my favorites, and I just try to do something like this. I don't care a lot right now about the generalship. I only try to breath kind of similar to what I have on concept. Of course, move your hair, clump to the head closer. And it's going to take the move brush and try to adjust smooth brush and smooth. Somehow, this hair clumps which is going to be on her cheek. Next, what we should do with this topology which we have after using snack brush after move brush, is not looking nice. And what we should do, we need to make that measure. So we go to that measure palette and target polygon count, we put as low as possible and press that room mesh. Then I need to look through my hair clam and decide if I like the topology, I like the topology. What I'm aiming here, I'm aiming to get very simple topology, simple and straightforward topology, topology which goes like this, and that's enough. I after trams, you receive the topology which goes kind of this, or something as what the brush likes doing. These parts here, the things they are not good because after smoothing you will receive here artifacts. In case you receive not best topology here, just press that from several times. What should I do next? Next, I'm going to use dynamic subdivisions. You might have seen it already here while I was making this hair clump. I just automatically press that because I always do it. What are we going to do we go into dynamic subdivisions and press dynamic. We have smooth subdivisions. By default, it's two and we need two or three, not too fancy. Don't put here seven or more just because it's going to be very difficult and very heavy for your computer and we need to have a lot of hair clamps. What is dynamic subdivisions? If you use Maya that in My they have smooth preview. Dynamic subdivisions are absolutely same. Technically, it's your preview how your hair clamp is going to look like when you will physically subdivide it. Right now, in dynamic subdivisions, it looks like as if it is subdivided, but it is not. It's just preview. A doors this technique, and I use it almost everywhere when I make my characters. Dynamic subdivisions can be turned on and turned off here in the geometry palette under dynamic subdivision. But if you want to do it with shortcuts, you can press on your keyboard D and to exit the nam subdivision, you press Shift D. And then if I need, I can adjust this hair clump a little bit more. Again, right now, I don't care a lot how exactly it looks same as it is on the concept. I just need to cover my head with different hair clumps. What we do next to create the second hair clump, or start with same IM brushes, MM primitives, or you can just duplicate this hair clump and adjust it to the second hair clamp. Duplicate this hair clamp integral here in the subtol palette you have duplicate or press Control Shift D on your keyboard and now you receive another hair clump. Then using the transposed tool Gizmo, you can rotate your hair clam, you can you can make it smaller. You can do whatever you want, and you can place this hair clump somewhere in the different place on your mesh. Right now, I'm thinking about this hair clump which she has and I'm just moving it. If after moving your hair clumps, you see that the topology is not looking nice, you can again press that measure and recalculate, regenerate your topology. So the mazin which we are doing here is creating different hair clamps. Then I want to duplicate this one again, and I want to make this long hair clamp, which goes here. And I can just scale my existing hair clamp, move it. And place it where it should be placed. According to the concept, it's a little bit higher than your I. Approximately, I'm doing same. Later in the next lectures, which when we are going to go back to our model, we will continue adjusting our clamps already existing. We will be adding more, adding more accuracy, and so on. Next, I'm going to duplicating it. And by now, for example, I want to mirror it. And mirror, you go to deformation and press mirror. Central pivot, you move it where it should be moved. You can rotate it, as well as you need. And let's say, I want to make it shutter, can do it this way, smooth and then use a flat brush to make your tip not that long. Because for another hair lamp, for example, I feel like I don't need and you can always go back to your previous hair clamps, adjusting them if you need. That's how it works. In general, it's really we create first of all, the blockout, the general ships, and then we just jump among our subtles creating our next steps. I can duplicate it again, move it here, place it on the head. I'm thinking about maybe some other here clamps. One is going to be here. So I'm covering my head with different hair clamps. Also, I don't forget about her back, and for the back, I choose the most straight clamp, control shaft take it out. Scale, rotate approximately to where it should be placed and place it on my head like this. Then move brush. When I work with blackout, I very often use a big radius of my brush, of my move brush. That helps me to not at artifacts because of small here. It's going to look like this, which is not nice and I need to just make shapes at once this. For example, this is a great example. Right now, I see that here we have a lot of topology, here we don't have that much. Again, I go to such measure and press such measure. And right now my topology is recalculated and looking great. I control the my hair clump. Move it here. Just it. Maybe I can rotate it. Again, here I don't care a lot about how it's going to look like. Is it exactly correct? What we have on the concept? Right now, we are just creating the base measures which we need. I can also duplicate this one and press mirror and I have created another hair clump, which is going to be placed somewhere here. Later in the next sessions, we will talk about the different layers of hair clams. What I mean later we're going to add here, the second layer, something like this, maybe the middle layer, couple of hair clumps. That's going to look this way. Right now we are creating the chiral volume. Next, I also see that here on the concept, we have braids, and we are going to create these braids. We are not going to use any braid brushes because none of the existing braid brushes, which I saw on the Internet, I like. Here, it's pretty stylized and it's pretty big. So braid brushes will not work here, so we're going to create them from scratch, actually, from the sphere. But before remember to save your project. To create braid brush, we're going to create an S to. We go to any other tool and select the sphere. Like this. Remember to press make polyms D. That's important without this brush is not going to work properly. And right now, what we are going to do, we are going to create this first one, hair clamp, second, third, fourth, one, two here, maybe more. And we are going also to create this big one, this big one, and maybe one more or two more. So here we are. We take a move brush, and we try to create kind of a hair clamp. If we need, we can always that measured, which I'm going to do again that from measure at very low polygon count. Right now it's five. I need much less. So here we are. Things going looking nice and I press D on my keyboard. Smooth subdivisions, I increase to sRme then I control ChvD duplicate this subto and rotate it. And we create another hair clamp. Again, even at this stage, we are making only the base. We don't care very much about is it looking very good. Anyway later when we will place them on our character in the next lectures, we will adjust all these things. I create another here lump control vD, pull out and rotate it. Here we are and we adjust the way this hair clamp should look like. And we can duplicate it once again mirror. And place it here. Moving all the here clamps whereas they should be. We have 12, so for, and we need something more. You can always use some flat brush if you feel that you need to add some volume. And we duplicate once more, Control Shift D. This one is going to be long and it's going to be a little bit higher. We have this Bc one, and I think this one is going to consist of not one of maybe two, Control Shift D and can do it this way. All these things behind, as I said, they're going to be adjusted. No use to adjusting them a lot right now because our braids are going to be modified and anyway, we will break what we have already. Next, we need to eat this stuff here, and we can insert cylinder So cylinder a little bit bigger, a little bit smaller. So we pull it here. And we put inside the what remains after our hair clamps. Like this. Cylinder we should move. Right. Okay. And next we are going to duplicate one of my hair clumps again. Cause we need to make the hair clumps which are here. So that's going to be the first one. Maybe it's going to be this way inflate if needed. Then control D. We can, I don't know, rotate it. You can mirror whatever you want you can do with this one. So we move it also here hiding under the decoration in flight. Maybe maybe we need to mash it. Boom, boom, boom. And we duplicate it one more time because we need one more, maybe more. Anyway, later we will be more afraid to it. Maybe a couple of more, but right now it's not obligatory. Very interesting thing which I noticed during the ten years in the industry is that at the very beginning the blockout looks very unattractive. But the closer you to the finish, the last let's say 10% work. When you start making this last 10% of work, your mesh starts looking much better immediately. Right now, we have a hair clump. And we have a break. And now we need to merge all the subtols and add our bread to our character. So we go to March, merge down. Okay. March, march, march, march, March. Here we are, and everything is in dynamic subdivisions. Next, we go to our character. We press insert or append, and let's add our rate. Let's find it. Here it is. We need to make it bigger. And right now, Oh, that's wait. And right now we are rotating our hair. Here bread and place it somewhere here. Sanctuary rotate it this way and we place it. Here. Again, I use the big radius of brush. Opiate now you understand why I told you not to spend a lot of time on fixing all the artifacts, all these things, not nice mesh, which we had on the braid because of the manipulations, which we do here, you will need to fix this again. And that's okay. And next we can control CBT and we can mirror our braid they are here. So for this lesson, you need to continue working. You need to continue creating other clums the way I created them here. Try to cover your head with big hair clems and on the next lesson, we will continue from here, and I will show you how to continue adjusting your hair and creating other interesting things. If you still have questions or you're not sure how to do it, you're welcome to watch the next video, which is Time laps on which you can see everything, what I was doing in real time. See you in the next lecture. 4. Lecture 03. Second Stage: Hair Layering : Okay, welcome to my second lecture. And in this lecture, we are going to continue working on our blockout. And in the end of this lecture, we need to receive something like this. So what we see here, we see the beginning of our second layer of hair. We see that our hair strands start receiving that direction. We are going to talk about this and we see that our front hairs, they are already closer to what we see on the concept. So let's go back where we finished. So this is our first blockout, and right now we are going to already start making our clamps more closer to what we have on the concept. But first of all, I want to explain you how to measure your hair strength to make sure that you're fitting the concept. So what do you usually measure? First of all, of course, I try to measure like the silhouette of the hair, clamp how it looks here, this one. That I apply to all my hair strengths. Another thing which I measure, I try to see where ends the tip of my hair. So on the concept, we see that the tip of your hair ends somewhere here. That's why this hair strength should be longer. I also try to measure this area. What shape do we have here between these two clams, and my free space here, my three d character should be also this way. I also look at this area. We ends this hair strength. It should be ending somewhere here. I also look at this distance, what kind of distance there is between the hair clap and the eye and this distance where it is placed. And as well as I also look at the distance between the other hair clams, but the thing which I have already said. And right now, we will start exactly which is just in our ha clams, which we had. So let's start with this hair clamp. Another thing which I also want to mention is that the roots of your hair should be inserted inside of your head. That's important because normally our roots, they grow from the hair. They grow from the head, and of course, we need to insert them. And as I said before, this tip should be here. Another thing which I see also from the concept that this hair clump is very close to your eyebrow. And that's, like, another thing which I am going to do. So I mostly always use my move brush to adjust the hair. Also, I look at my hair from the angles to make sure that the lines of the my hair strands are looking nice. And I take this one. And what I see, I think it should be a little bit lower. And what I can do is you can take a hard polish brush and polish it a little bit, because there are different styles of hair. Some hairs are very chunky, but this hair, I don't think that's very chunky. There are a lot of hairs, but in general, they are not chunky. So I use heart not too much. I use hard polish brush to polish my hair. And at this point, I try to adjust my hair as much as possible. Also, at this stage, you can start eating other hair clamps, like this and this, which are smaller, but not those which were very sin flyaways are going to be covered in the next lecture. And also, make sure that your hair clamps are line one on another. If they intersect the like this, which happens right now, it will not look nice. So pull it out or polish And looking at the concept, I see that this hair clump is maybe flying away a little bit more another thing, if you feel like you want to adjust all the hair clamps altogether, for example, you want to add more volume to all your hair, you can do it without merging all Subtools in one. So we go to Transpose Muster and press depose mesh. And right now, we need to wait until another tool is going to be created. So here we are. And now everything is in one Subtool. And right now, you just need to select all your hair clamps. Mask everything, and now you can, for example, feel like we need more volume here. In order not to put each here, trend separately, we can just put it here. And then and maybe we can pull it out here a little bit more. Then we go to the plugin transpose master impose subtols. The main thing when you're in this deposed mesh, don't separate ends and don't tran name the mesh. Otherwise, you will manage to bring all the fixes, all the adjustments to your mesh with all the subtols. That's very important thing which you should always remember about. Here we are. Now let's create the sher strength which we also see on concept. We can create this inhere strength out of this control shift D out let's moss it maybe too much and then inflate. And let's pull it out. Again, the radius of your brush of your move brush should be pretty big. Right now, I'm trying to place my hair strength and I check the silhouette from all the angle views from side, from the front, from three quarters from all these things. It's going to be here. Maybe I want to place it this way. Next thing which we are going to learn here is how to create the second and maybe third layer of our here. Unfortunately, we don't have the concept from the back here we will need to use only our imagination. The main thing which we should remember that in general, our hair should have one main direction. Let's say it goes like this. The main direction goes this way. But each separate clump can have its own direction inside of the main direction. What do you mean? So what talking about sla, we can have one hair strand going like this. Another one may be going like this. We can have another hair clamp which will go this way, another one can go here, so you see the direction changes, we can have another one going here. But in general, we see that the main direction of the hair is like this. After that, we start thinking about our second layer. Our second layer can be different. You can use your imagination. But usually, we try not to repeat. It will be not looking nice if another one, and all the rest will be looking like this, like they are just 100% repeating what we have here. Usually, we try to do something like this, like this, maybe. Another one can go this way. Another one can go, another one can go this way here. And we also might have another small third layer which can go this way. Maybe this way, maybe this way and something like this. This sod is not obligatory. The longer hair you are, the long hair you have, the more layers it can have. So what we do we start with our one of a hair clamp that mash it. Let's take hard polish brush. And let's clean it a little bit. Next, I start moving this hair clamp, and also I remember about the roots. Roots should be inside of the head. And I'm thinking about how I can adjust. Later in the next lectures, we will work also on the tips, but right now, the tips are not important for us. Then we proceed to our next hair clump. Again, heart polish, and we can think about the direction of this hair hair clump. Take the move brush. Right now, I think the tip is very thin so we can folate it more. Op, hard polish. Move. Maybe going a little bit this way. And let's hide for second, this one, and I can also move this here clump here. Also, I look at their intersection, and I try to make them not intersecting too much, so this one can be here placed here. Let's find that one which we have hidden. Heavier, let's go to this one. Solo mold. That's measure. Again, hard polish. The roots and we can think about the direction of this hair clamp. Same as previously, I tried to see what direction and what lines I have from all the possible views. We can take her polish brush and clean it here. Remember that everything is in the dynamic subdivisions. What else can it do? Can duplicate this mesh Central Piot rotate it here. And maybe I can pull it also here. And then this direction, maybe it's going to be under here. Let's put it somewhere under. And we can take snake hook brush. I'm doing this way can inflate it, we can hurt polish. And I could like a one piece to make a little bit wider. Theis I can just do it this way. And I can move it here. As well as I look from here and I also try maybe to hide this holes there and maybe I can move this one here or I also can addre maybe another here clamp or I can move up this one. Always I check their intersections And again, hair usually has shape, the normal shape of hair or something like this as shape or like this. Very rare, we see the hair which goes straight, just straight. That happens, but not that often, and it is definitely not the case of our character from the concept. And let's a little bit fix this one. And here this one can go this way. Maybe I can even pull it out. Intersections. Next, I want to create an as layer. Secondly, I duplicate this one. Pull it out, make it smaller, and maybe let's mirror it. And now I'm going to place it on the head as my second layer. Again, roots. So for example, I want to place like this, move it here, I want to mesh it. Mm hmm and art polish and move. Again, I try to make the nice lines. Nice lines are very important, especially for the hair. You can take the snake brush, maybe to pull out the space, the tip of the hair. And what I also try to do? I try to place my second layer on the intersection between this here and this here. So intersection goes over here, and I try to also place it this way because this is how the hair will look even more interesting. Next, I can do whatever I want. I can maybe make it longer. I can then duplicate it, Control S D, now let's make. Mirror. Maybe let's make it smaller. Let's inflate it, maybe let's make it wider. Then take again move brush roots about the roots. You can always return to a previous one and put the roots lower and you go back to your this one. And we are trying to create another layer. Make these intersections polish, move, and write it here. I can again duplicate this mesh. Let's mirror it. Move it here. We can rotate it and create another hair clamp. Goes this way. The pull this hair clamp. I want to do it this way. As you see all the time, I just repeat same actions which were before. All the hair creation is about first of all creating the main blockout and then adjusting the forms. Usually, it really takes a lot of time, not ages, of course. But for me, for example, to create such a hair takes about three days. It's not really complex, just repeating all the same actions a couple of times. So you go from here you see math maybe it's this one and we need to pull it up. Maybe we need to do it this way. And let's duplicate this hair. If you don't know what to do with your hair or as in my situation, we don't have a nice back view on the concept. What I usually do I go to art station and I look for reference because reference can save almost any situation. So yeah, art station helps a lot here. Make this one longer because this one and this one, they were looking almost same. So I'm just trying to break the symmetry and working on the hair this way. And here it looks like we like one more hair strength. So we can duplicate this one. We can mirror it. We can move it, we can rotate it and we can make it shorter, that from mesh infolate and I would maybe hide this one here or make it go like this and also do the sins or polish, move, move out, move inside. Next, our pads. Here we are we go back to our braids. Let's parateObd They are not symmetrical, turn of the symmetry and split in as sbt and split split hidden. Actually have this one. We can also split this split hidden. And right now I want to merge this one, brush shift this arrow and take this one, shift and arrow. And right now, I can merge them when we go to merge, merge down. And very carefully with the big radios of your move brush, we are adjusting our Here breads. This one is also separate. First of all, merge down, merge down. On what eggs Cam on split hidden. And I pull the things here and very carefully can adjust it here. So like this, And then we have our next bread. Let's merge it with a small tail, merge down and emphasis pace also. And now we need to rotate it because it's not symmetrical. Look at our concept. You can use Gizmo. I use geosco because I learned that brush we were dinosaurs, and I learned how to use gyroscope, and right now for me, it's very convenient. So what we see, we see that our brad should go here and maybe the sport I rotate a little bit here and a little bit like this and a little bit this way. So the main goal of this lecture is to adjust your hair closer to what we see on the concept is partially from the front to you and to create the second and maybe shoot layer of your hair from the back and to adjust the direction, the flow of your rate. Next lecture, we will continue refining the hair and we will talk about fireways, how to create them? Why do we need them, how to add them, how understand the thickness of these flyaways to make them look nice and we'll also work more carefully on the separate braids. 5. Lecture 04. Flyaways and Blockout Finalization : Hello, everyone at our third lecture. And at this lecture, we are going to adjust our braids, the tips of our braids, and also we will make flyaways. So we need to get from here to here. So first of all, let's talk about what is flyways. Fly was is very sin here strengths, which are really very sin, and which are flying from our main here. You can see a lot of them. They are not usually pretty drawn on our concept, but even from the concept, we can get them. So we see here, here, here, we have one small here. We have one here. We can maybe have one here and so one so these are small tiny hairs which always add mood to a character. Without these flyaways, your character is losing kind of its mood, and the mood of our girl makes us to make these flyaways. So let's go to our character. And first of all, let's work on our breeds. And right now, I'm going to adjust them more carefully. So I ask the area and again, using my move brush, I'm trying to adjust each and separate hair strength. I go from one bright strand and know how to say from each part, and I'm trying to adjust it as much as possible. Usually, I almost always do it with my move brush. You can also use a plate brush, maybe move topological. But I prefer just move brush. It's one of my favorite brushes in that brush. And what's here. Again, this one, make it look a little bit this way, and then I can put it also here. Also, we work with. This has strength and with this one, everywhere we need to have volume and we need to have nice lines. I feel like I want to go back to this one, maybe to just a little bit also here. This is how we adjust our bright transcnect here. Then this one, move it here, word move that here, each just for work. When we are talking about the sails which are flying from my bright first we are adjusting the main form. And then we will try to get some interesting parts to it. First adjusting the form. Next. I duplicate the sub tool, control shift team, separate this one and the lid hidden. And we are pulling out another one. And I want to place it somewhere here and a interesting sign. I'm going to pull it out. It's kind of way, but not actual flyaway bits because it's going to be pretty sick. Lawys we will also eat. But right now, we're still working on the silhouette. I'm trying to make the steel looking not like this. Like maybe in reality, you all have such hair, but I'm trying to make the silhouette which is looking kind of this. Maybe here, we will add one more. I can do it this way and we get back to here, again, control ST, the lid hidden, without.This one maybe can even do it a little bit this way. Just everything from all the views. Maybe from this one is going to be better looking this way. I can always go back to my other words. Also adjust them. I would add one more Control Chi D, delete hidden, smooth, loud. And I would also put it here to hide the separation of my the sterig ones. Smooth smooth. Then let's go again here and I can add a couple of Wiwas. Again, go here, Control Shift D, select the lead hidden, pull out smooth we are right now making very, very tiny. I would like to place this tiny flyway here. And doing this way. It's very important hide the roots and maybe we can add one more flyby from this one, control Civ D, Sala mode, smooth, loud, and we can place it here. Like this and it feels like we like one more here. Control should D, select the late hidden, smooth, pull out. Again, let's make it very smooth. And we can place this one here. Maybe this one we can make it longer. This is how we can work with tips of our hairs and let's now proceed to our flyways and our main hairstyle. I want to make a couple flyways here and I can con duplicate this one solom mot, the lid hidden and smooth. This is actually everything what we are going to do right now. But these flyaways should be releasing. And this one maybe I want to stand away a little bit from the main hair. Here then. I also want to add the flyaway here. Let's duplicate this one, Control Shift moves, and we can move this one small here. If you feel like it is too thin, you can use the flight. Smooth once again. Another flyaway we can create out of this one. Control Ship D, Solem what? Smooth. Pull out. Move. Don't forget about the roots. If you need to make measure, you're welcome to do it. So this one can be here. Maybe a little bit closer to the head, not flying that much away. We can generate another one from this one. Croll shift D, som smooth. Pull out. Roots. A reminder if you want to watch the full process without my explanation, without want maybe to understand the full process to see if I'm as if I'm sitting and working right with you here, you can watch the time lapse because I have time lapses or all of the lectures. Here we are. And we can make a flyaway out of this one. Control sham Solomot and smooth. These flyaways we can actually even make more interesting and do it this way. Like this. Maybe here closer to the main one. This one can be pulled out. Where else we can place flyaways. Maybe can duplicate this one and smooth and pull out Oh, yeah. In the next lecture, I will show you how to detail your hair. And also, I will show you how to make the paint of your hair here in that brush. Here. This is it for this lecture. Hope it was interesting for you and useful. I will see you in the next lecture. 6. Lecture 05. Final Detailing and Polypaint: Hello, everyone, and welcome to our last lecture. At this lecture, we are going to detail our hair and to make poly paint. We need to go from this hair to this hair. Let's look what we have. Our hair is going to be detailed like this and we're also going to make sharp tips. Here, the tips are not sharp as you see, but here the tips are already sharp and we are going to detail our hair. Very important thing about detailing the hair. Hair doesn't need detailing too much. It doesn't need to be detailed as if it is real hair, a lot of a lot of a lot of details like this we are not doing. For us, it enough to make just a couple of strokes to make the hair looking finished. And also in the end, I will show you how to make polyp. So here we are what the first thing which we need to do we need to merge all our big hair into one mesh. That would be easier for you to work and to control and for a future topo. The flyaways we are not detailing, so we need to merge into one only our big meshes. So what I'm doing I find all my big meshes and I go to merge and merge down. If you need to move to the bottom, you press shift and press this arrow and can march down, march down. A here we are. So we are ready. The next thing which we need to do is to convert our dynamic subdivisions into physical subdivisions. I go to dynamic subdivisions and press Apply. Right now, you can see that we have our real subdivisions, and I would press Control D one more time. Next what we should do, I will show you how to make your tips sharp. So we take the brush. We go to brush, and we go to curve and we turn on Ac curve. And then we are pulling out our tip. How does it work this function ac curve look. You see? I'm pulling the tip. I'm pulling just a couple of polygons. If you at another ac curve, it goes this way. This is a difference. To make our tip sharp, I always use function ac curve. And you repeat it with all your hair strengths. When you are done, we can proceed to detailing our hair. And we start, I usually start with the most obvious one usually from the front. I select one of the let's make auto groups. I select one of my hair strength. I take them standard brush, turn on lazy mouse. Lazy mouse is by the faults turned here, and we go to lazy mouse and lazy radios, we put to 30. And you need to do a couple of things. You need to make one stroke like this and then with, you make another stroke. We can divide one more time, like this. And you can take again this one and you can make another steak, moving from here and remember to smooth. Then we take another one. Remember about the tip here, and it was old and smooth. If your hair strength is too long, you can add one more here. D. Then we go to the next hair strength, and we do same here. Don't make it toilon. When I say Toulon, don't make it going through the hole mesh like this. It's not looking nice. Start from the tip and then from here, do it like this. If you have such thing happened here, you can just use your move brush and fix the small artifact, or you can take also a art polish brush. And get rid of this artifact. Also, I can take a plate brush and little bitwenflt ds. That happens very often when you are detailing the hair. But all the things, they are okay and they are pretty unavoidable. Done. Next, let's try to make it on a lawn on the lawn hair strength, so we take this one. I take the dm standard brush and like this and smooth Very important. Remember to smooth. And then you start check where we see this hair strength. Okay. We can take another one and smooth. Like this. If it is a tube strand, we can even make it like this here. Let's do it on another big hair strength. I smooth. This utilization is absolutely enough for our needs. Also you can turn on the back face mask. Back face mask we can find in brush, autumnskin and backface masking in or not to influence this part of your hair strength. In sms. And with this strength, I would go also to top and sms. And the hair is looking very nice. Important thing when you are the tail in the hair, take the size of the brush, not very big, not very small. So it should be kind of death. When you take it very small, you're not getting the results which you need, you see? When you take it too big, it will just not work properly, right? So try to try to take something average. Smooth. Smooth. And from here, So this is how we detailing the hair. You just need to go through all the meshes on your hair and to detail them like this. Next, we need to make the poly pint of our hair and how we should do it. First of all, we need to select the color. Here we turn off the brush. Let's select the color. Let's do it this way. Take the paint brush. Check that here you have RGB, and then you go to color and feel object. Feel object for all your other meshes which was hair. Done. And after that, you select a color a little bit more saturated and move this color a little bit to the left or to the right here in the spector. And also, I reduce the RGB intensity a little bit. Then I take big radios of my brush and I paint painted here. Say I do this here's and with this he's and of course, remember about your flyaways. If you feel that here, for example, two, you painted too much, just select the color which you had in the beginning. Let's tick this one, press C on your keyboard and take this color, and you can clean it this way. If you're not happy with what we have, we can go to poly paint. We can adjust colors, and here we have adjust colors. And we can work reduce RGB intensity. Here we can reduce the RGB contrast, reduce the saturation, maybe, and press Okay. Here we are. So this is how your hair can be painted, can be detailed, it can be done. Hope you like the scurse and I will see you in my next course.