How It's Made: A Detailed Curly Hairstyle in 3D With XGen & ZBrush

Introduction 

My name is Javad Mehrad, and I'm a Character Artist. About 12 years ago, I was first introduced to the world of 3D, and I have been practicing professionally for nearly 9 years. I have learned everything through constant practice and self-study, and because of my deep passion for this work, I never get tired of learning and improving.

My primary focus has always been on hair and grooming, which has led me to undertake numerous personal projects. I usually choose models that are both technically challenging and personally interesting. For hair and fur creation, I primarily use Maya and XGen, as they provide powerful tools for achieving natural and realistic results. Additionally, for projects requiring Hair Cards, I also work with ZBrush and Arnold, which offer great flexibility for producing high-quality hair cards.

In most models, if needed, I create a blockout before starting the actual work, which helps structure the workflow and make the process smoother. Many of my personal projects, which I am particularly proud of, are showcased in my ArtStation portfolio. I have also worked on numerous projects for animation and game production, covering both natural human hair and animal fur, although I am not allowed to publicly share those due to contractual agreements.

As a freelancer, I have completed a wide range of projects. The model I will discuss in this interview is one of the most challenging and, at the same time, one of my favorites.

Analyzing Curly Hair Structure 

I have practiced creating various hairstyles, and each one has been a unique learning experience. Curly hair, in particular, was an exciting challenge for me, as creating this style while maintaining natural details close to the reference is very time-consuming and engaging, but at the same time, genuinely enjoyable.

I started with simpler hair models and, after extensive study of references and observing the intricate details of different hair types, I deepened my understanding of curly hair structures to achieve a natural result. Of course, this is still the beginning, and there is much more to learn and improve.

For this specific model, I was first drawn to the style itself: a combination of braids, curly, and straight hair that is separated yet visually appealing. After reviewing various references and focusing on one, I was able to capture the look I had in mind and began the actual creation process.

You can view some of the references here.

First, I studied various references to gain a solid understanding of curly hair structures, which is a crucial step before starting any work. Then, I created a blockout of the hair in ZBrush using different hair brushes to establish the overall shape and flow of the hairstyle.

Next, I set up my Maya scene to ensure there would be no issues when working with XGen. I first adjusted the size and placement of the character's head in the scene, and then created proper UVs for the scalp. With the blockout in place, I began working with XGen.

Creating the Hair

When working with XGen, I tried to group related areas in a single description, as they share similar properties. Creating guides for straight and short hair is relatively straightforward, but for curly sections, it's important that guides do not intersect and have variations in length and curl count. For precise control, I created many of these guides manually. 

In cases requiring many similar guides, I used curled mesh curves and converted them into XGen guides, which can be easily done using specific XGen tools. After guide creation, I made sure to generate accurate maps for the scalp using Substance 3D Painter (ZBrush or Maya can also be used). These included Density, Width, Region, and Clump Maps, which were then imported into XGen.

Different hair areas require different parameters. For example, hair at the crown has specific noise and clump settings that must match the reference structure. Curly hair and extensions at the back have unique parameters, including region maps, noise, cut, and multiple clumps.

Finally, after fine-tuning all maps and adding various expressions in XGen, the hair details were completed. I then rendered the hairstyle from multiple camera angles using the hair shader in Arnold.

Conclusion

One of the main challenges in this project was achieving precise control over the guides, especially in the curly sections of the hair. If they intersect or look too similar, the result can easily appear artificial. Adjusting the maps (such as Density, Clump, and Region) for each part of the hairstyle also required time and accuracy to ensure a natural look. In addition, technical issues in XGen and the heavy rendering process in Maya were challenges that demanded patience and careful troubleshooting.

Through this process, I learned that carefully studying references is the foundation of success, and that creating an initial blockout greatly simplifies the workflow. I also realized that having a structured step-by-step approach makes even the most complex hairstyles manageable. For me, attention to detail and keeping control over every stage of the process were the key factors in achieving realistic and natural results.

For artists who are just starting, I would recommend always working with references instead of relying only on imagination. Begin with simpler hairstyles and gradually move on to more complex ones, such as curly hair. Most importantly, be patient. XGen can be time-consuming, but the results are worth it. And don't forget that small details, like variations in length and direction or adding subtle noise, can make a big difference in achieving realism.

Javad Mehrad, Character Artist

Interview conducted by Gloria Levine