![]() The third layer is composed of transitional and flyaway hairs.The second layer has thinner hair strands that add volume, intricacy, and breakup the monotony of the hair.This layer should be thick so that it covers the scalp completely, with no visible gaps. The first layer is just a bunch of hair cards that establish the hairline, mass, and direction.You can approach hair placement as if it’s retopology – simply placing hair cards on top of the sculpt. The sculpt also helps you build the first layer for your hair. I would recommend sculpting the haircut in ZBrush first to establish hairline, volume, flow, and proportions. Once your textures are baked or painted, you should start placing the hairs and work in layers. I use a standard hair material that is automatically assigned by XGen and then bake the Diffuse, AO, Alpha, and Normal maps. I usually generate a low density map for the first modifier, a medium density for the second, and high density for the third. Each Clump modifier has a Clumping map.Cut modifier cuts the hair tips and gets rid of the uniform look.You can use masks here to have noise in specific areas or use the slider to control the noise level across the hair length. Noise modifier adds some noise to the hair.Clump modifier will clump the hair strands.I use a set of Modifiers to achieve the look I’m going for:.Add guides, scale them to proper length, then sculpt them into desired shape.Create a Description with these selected parameters.Create a plane, select it and pick Generate, then choose Create XGen Description.In this section, I’ll be giving a quick rundown of XGen and how it can be used to create hair geometry. Depending on the desired outcome, this might be a result you do or don’t want. If it becomes too thin, the values will decrease from pure white to slightly grey. The thickness of the tips and roots will affect the appearance of the Alpha map.Check out my tutorial on how you can do this. The Normal map is baked with aiUtility.The Specular map is just the AO map with a Levels adjustment layer and directional noise multiplied on top.You can have it set up as a render pass as well. Convert hair descriptions to geometry and use aiUtility to bake the AO map.I tend to bake down hair color and modify it from blonde to black, if needed. You can choose to experiment with Arnold’s hair material here. Bake the Diffuse using a standard hair material assigned by XGen.Hair Texturesīelow are the steps I take for creating textures for hair. Building hair relies on manual labour and patience while placing the cards. Keep in mind that it doesn’t matter if you hand paint the hair or use XGen to generate textures, there are no shortcuts for a good result. I’ll try to explain the basics, however, if you’re seeking a more indepth tutorial, I highly suggest checking out Adam Skutts hair tutorial. The hair is created procedurally using XGen descriptions and the textures are baked in Arnold. Hairįor hair, I use the XGen and Arnold workflow. ![]() The Cavity map will mask out pores, as they shouldn’t have any specularity. I have Primary and Secondary Specular values the Primary has a lower Gloss value with a slight blue tint, while the Secondary has a higher Gloss value. No Fuzz or Specular maps are used since I have actual peach fuzz (more on this later) and use the default physically based Specular value of 0.29. ![]() I apply a Translucency map for the ears and nose by inverting the mesh normals and baking an Ambient Occlusion map. The Diffusion module is set to Subsurface Scatter and I tint my color to a reddish tone. I use a basic Roughness map with a Cavity map multiplied on top. My material setup for Skin is very simple. Using a combination of Cavity maps from Displacement data and hand sculpted details, my goal is to transfer sculpted data onto the Diffuse so the details match in both the highpoly and Diffuse. ![]() After I’m done projecting the maps, I clean up the major pores and wrinkle details on the Diffuse map. ![]()
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