Praeclarusa: Hennin and Torque
- how to get started and some special tricks


With this product we as developers and you as a customer start into a new series of medieval clothing.
Clothes that are not longer costumes but 3d-items that are as close as possible to real historic garments.
This first issue, the Hennin and the Torque, brings you headgear of the 15th century with the typical rich decoration and realistic, flowing veils that follow every movement of your character.

This little tutorial will guide you through the use of this product and gives you some tips on how to alter settings and tweak them to your needs.

If you are new to dynamics in Poser, we highly recommend you look into the Poser Help and check out the tutorials Smith Micro offers on it's site.
You will find a tutorial called "Cloth Parameters and Their Effects" there that will explain all the settings you can use with dynamic cloth.
There will be some situations where the veils looks brittle, have sharp edges or even break
- no tutorial is able to cover every scene your imagination is able to create.
Being able to alter the cloth parameters will help you to get a smooth result without altering the scene too much.

Before we start with the tutorial it is necessary to mention dynamic cloth and DAZ Studio!
Unfortunatly the dynamic veils do not work in DAZ Studio, regardless of the version you own.
DAZ Studio uses a completely different system for dynamic clothes.

While in Poser all you have to do is load an object-file, clothify it and choose the objects it collides with, this method does not work in DS.
Dynamic clothes for DS require a third party software that is (at the moment) not available for developers.
In other words: If you want to purchase dynamic items for DAZ Studio you are, at the moment, bound to what DAZ offers in it's store!


...and now it's time to

Set up your scene

It's as easy as this:

  1) Load your figure.
As V4 is the most used figure at the moment, all items will fit her by default.
But with little effort, you will be able to fit everything to other figures as well.
I will explain this later.
Uncheck Inverse Kinematics, but otherwise leave your figure as it was loaded from the runtime.

2) If you want to use conforming clothes, it's time to load and conform them now.
Of course you can use dynamic clothes as well, like the gown shown in this example.

3) Add hair, jewelry, scenery items and what else you may desire for your scene.
Both hats, the Hennin and the Torque fit very close like their real counterparts did.
Women used to hide almost all hair under these headdresses.
To get a likewise look we recommend to use a haircap instead of a complete hairdo.
In our examples we use the haircap that comes with the "Bob World Tour" hair by Bice and outoftouch
(available at the Renderosity Marketplace).

4) Decide on one of the hats.
If you want to use the Torque you can load the additional pearl-decoration as well.
Then you are done as the Torque loads complete with both veils.
If you want to use the Hennin you will have to load it's veil, the Flinder, as well.
The Flinder is smart-propped to the Hennin so be sure to load the Hennin first.
This way you make sure that the Flinder loads in the perfect postition when you load it.
As all clothes are smart propped to V4, they will automatically follow any rotation and translation if you move her.



step 1-5


step 6-10



Important!! 
  • Make sure that your figure is selected when you load your headdress and veil - NOT a conforming clothing or a hair figure!!

  • The Flinder and the underface-veil of the Torque contain constrained and/or coreographed groups that make them cling to the underlying surface as soon as they touch it during the simulation (constrained group) or completely static (coreographed group).

  • In some rare situations the even the coreographed parts of the Flinder may not prevent the peaks of the Hennin to poke slightly through the veil.

    This happens because the peaks of the Hennin's "horns" have to be made from very few polygons.
    If this happens, you can *load and adjust the both jewels* to cover the poke-through or fix it in postwork.
    Usually the Flinder will stop moving down before it touches the caul, but if the head is tilted and/or turned in a rather extreme way the Flinder may meet one or both horns in an angele that forces the peak(s) to poke through the cloth.
    If the pokethrough happens on each of your simulations you should try out higher values for your collision settings and maybe increase the value "Air damping" in the cloth parameters in very small steps.
    Air damping is the amount of influence that the "air" has on your dynamic items.

    As said:
    Use small steps if you want to increase the air damping, even small changes can make your veil float in the air!
  • The veil(s) may be invisible (especially parts of the Torque's veil when you look at V4 from the front) - but that's just a preview issue!
    It will appear in the render and you will be able to see it while it moves during the simulation process.

   5) If you decide for the Hennin: Add the matching veil, the Flinder. Make sure that the Flinder does not intersect with clothes you've added.
If you find that the Flinder touches part of your clothes you should alter the Y-Transition slightly until it doesn't touch anything.
   6) All the way down in your Poser Window you'll see the Animation Controls. Go to frame 20!

7) If you want to use morphs on V4 you can add them now - the morphs will "grow" from 0 to the desired value from frame 1 to 20 and the veil will react on it (as far as it touches the affected bodyparts).

If you use conforming clothes:
Don't forget to check if there are morphs/fixes you need to set.
If you use dynamic clothes:
Simulate these first (don't add the veil to the collision objects) and then use a second simulation for the veil (add at least Victoria, the clothes and the Hennin to the collision objects).

8) Add your pose on frame 20 as well.


And what are these last 10 frames after frame 20 for? I hear you ask.
The last 10 frames will give the cloth time to relax. While V4 has already stopped her movement, the veil will continue to follow the gravity! The result is a smoothly flowing or draping Sheet that looks very realistic and soft.


   9) If you dressed your V4 you should make adjustments to the clothes now so that you do not find any pokethroughs when everything is done.
If you want to use clothes underneath the veil, you may encounter pokethroughs in the first frame.
In the best case this looks ugly - but in almost every case your dynamic cloth will look crappy and broken.
If this happens you can do the following:

9.1.
Go to frame one and add the conforming clothes and the headdress of your choice.

9.2.
Move your camera around to see where the conforming clothes poke through the dynamic clothes.

9.3.
On frame 1 alter the size of your dynamic cloth until no part of the conforming one pokes through it.
In most cases is it enough to alter the x- and z- scale.

9.4.
If desired you can now run your calculation as described below.

9.5.
The more elegant solution:
Go to frame 20 where you added your pose and set back all scaling values you altered on frame one back to 100%.
This way the dynamic cloth will shrink around the conforming one and behave like a real clothing item with a little amount of elasticity.
Please note that this method doesn't work with every kind of clothing.
If you still encounter pokethroughs after running the calculation you should leave the "oversized" dynamic cloth as is.


10) If the hand touches the face or upper body or may collide with the veil, you willhave to do a bit of thinking work:
May it happen that the veil crushes and crumples between the hand and the touched surface?
If so, you should make sure that there is a small amount of space between hand and touched surface.
This way the Sheet will flow smoothly down between hand and surface without crushing too much.
If you want the hand to be closer in the final render you can add one frame (frame 31 in our example)
and move the hand to the desired position in that last frame.
That last "extra frame" is not part of the simulation as we told Poser before to render over 30 frames.

11)
If you've followed the tutorial until here, you are done with setting up the scene...


So far your dynamic item looks pretty stiff if not to say: boring!
Nothing even close to what you saw in the promotional images and in this tutorial.
When adding your pose and morphs it looked even worse!

And so it's time to visit the


The Cloth Room


   1) Select the "New Simulation" button by clicking on it.

2) By default your beginning frame is 1 and the last frame is 30.
All our promotional images are made with these 30 frames so you may want to leave the settings as they are.
Once you have some experience with dynamic cloth you can play with more frames and with changing the pose during the simulation.
But for now 30 frames should do the trick!

3) Check the box "Cloth Self Collision".

4) Drape frames... you may want to use them or not - this depends on your pose and what you want to create.
If the Pose is rather static and if you do not use a windforce you can add as many drapeframes as you desire.

You can see some renders showing the effect of draping under "To drape or not to drape"

5) You can now press the "Clothify" buton. A dialog will appear where you are able to select the veil you've loaded.
Find it in the list of items (where for instance the hair or other props will be as well) and click "Clothify".

6) Now the "Collide against" button is active. Click on it and you'll see everything that's in your scene.
If you are unsure what bodyparts of V4 will be touched during the simulation you should choose the whole V4.
You may want to uncheck the hair(cap) you've used, as having it in your simulation can be very time consuming.
Howeer you MAY find that you will have to check it as well when you run the simulation and find that the hair pokes through the cloth.
If the cloth will touch the ground or a background prop you will have to check it as well.
Same goes for every piece of clothing you have in your scene and props (like chairs) as well as long as the veil may touch them.
If you use the Torque you will not find it in the list of collision items as it is a kind of special dynamic item:
Parts of the Torque are static, parts of it are dynamic.
The "Cloth Self Collision" you've checked before takes care that the veils collide with the rest of the hat - but if you added the Torque's pearls as well these belong into the list of collision objects!
In fact both veils are one single dynamic item so you will only need one simulation for both of them!

If you decided for the Hennin you will find that it comes with four parts:
The Hennin (the static caul), the Flinder (the dynamic veil) and two Jewels.
These Jewels are jewelled buckles that cover the peaks of the Hennin and (in real life) attach the veil to the Hennin.
In this set they are just decorative props to round out the realistic look - and you can cover little *poke-throughs* and other glitches with them.
At this stage you only add the Hennin and the Flinder.
The Flinder is your dynamic object, set it up as described above and be sure to add the Hennin to it's collision objects.

7) When you are done with the collision dialog, you have to set the collision depth and offset for every item that's in your list
(V4 and, depending on your scene, ground, clothes, props).
Collision depth and offset tell the cloth how close to the surfaces you've just chosen it shall get.
As all Veils are rather thin and "lightweight" you should decide on something between 0.6 and 0.5 for your first try.
You will find some checkboxes where you can uncheck the collision with V4's head, feet and hands.
For the Torque's Pearl decoration we recommend a value of 0.6.
Maybe you already know that some of these bodyparts will not be touched by the sheet
- then you can uncheck them - but the head should stay in your list.
As already mentioned you can leave hair out in almost any case.
If you find your hair poking through anyway you can run a new simulation after adding it to the listof collision objects.
But again:
A simple flat haircap will very rarely poke through the veil.
Now you set at least a hook into the "Start draping from Zero Pose" box, and you're done with this part.

8) After you finished the Collide dialog, you can see the parameters for the Sheets.
You can leave these settings alone so far, and run your simulation by hitting the "calculate simulation" button
- but:
You may want to save your work before you do this, so that in case that something happens (Poser crashes, your computer refuses to work, power blackout, your cat wants to have dinner on the keyboard...) you can simply load your scene and hit the calculate button.

9) Get yourself a drink or fix some coffee, lean back and watch the magic happen...
(and hide your keyboard from the cat and other nosy roommates).

10) As soon as the calculation is done you should save again.
The results of the calculataion will be saved together with your scene so you will not have to go through the whole process if you want to reload the scene later.

11) Now choose the best render settings your computer is able to handle and render a small version of your image.

12) In the material room you can pick several alternative materials and textures and of course you can add every material set you have to the surfaces.
If you want to create your own material combinations you have to take care of the material zones called "constrained" and "choreographed"! These are in fact parts of other material zones that use the same material settings so make sure to match them to the surrounding surface. If you are unsure where these extra-zones are located you can use a flashy color in the difuse channel to make them stand out. Now you will see that for instance the "sheet-constrained" zone of the flinder is part of the zone called "sheet" - what means that the material used for "sheet" has to be used for "sheet-constrained" as well.


The veils contain as few distortions as possible and will render beautifully with any kind of material shader.
But of course you'll have to keep in mind that the more you "stress" the mesh of a dynamic item, the more distortion you will get.
In other words:
If you wrap the cloth around the figure, add a massive windforce or such, it may look better to use a simple material like the included sets.

The Jewels are smart props that can be added to the Flinder AFTER you did the simulation.
They will load in a position above the peaks of the caul. Load them and use the face camera to move them into the perfect position.
With the help of these two little smart props it is pretty easy to hide little imperfections that may appear where the veil meets the peaks of the caul. But most of all these jewelled buckles are a typical element of a Hennin as they hold the veil in place.
You can see the effect on these images:

step 1-5           step 1-5           step 1-5

13) If you are satisfied with your scene you should now run your large final render, decide on more drapes and scenes while the render engine does it's work, and then admire what you have created.

As you may have seen from this tutorial you now have a highly creative and inspiring set of items in runtime. Most of all your shy medieval lady can now hide behind a veil that really flows with her elegant pose and your fairytale witch finally has a headdress that is able to follow her movement when she does her spell.
The Praeclarusa products are the clothing solution for all your scenes that require perfect folds, natural movement and the elegance of historic garment.





But you can do more!



Tweaking and experimenting - here's where the fun starts!!
The same scene - another pose!!



So you've created the perfect scene.
Light, textures, the character you've chosen:
Everything looks lovely together and you begin to think of a little series.
You're lucky, you do not have to start from zero again!



   1) Load the scene you've created before and save it under a new name (just to be sure not to overwrite the perfect one you've done before).

2) Delete all frames except the first 20 ones by typing a "20" in the right "counter" of the animation window.
By default there should be a 30. Poser will ask you if you are sure, just prompt this by clicking the "OK" button.
Now you've got rid of the "relaxing frames".

3) Go to frame 20 and alter your scene to your desire: Pose, postion and so on.

4) Type a number for the last frames into the right counter. By default this will be a 30.

6) Calculate your scene and render the second issue of your series!



The cloth parameters
As said above, the internet holds many tutorials and overviews regarding the cloth parameters, you should even be able to find sample images that show the effect of higher and lower values.
On the veils we have used values that simulate the behaviour of starched silk and linen.
Below you find alternative settings to create different looks.
Do not hesitate to experiment with these values and create new, exiting fabrics.
You can even save a sheet with a new name to the props library and it will load with your new settings!





       
Chiffon Crepe de chine Heavy silk




Light silk Light wool Linen




Cracks, edges, distortions and other nasty things
Such things can happen - don't panic, your cloth is not destroyed. You can always alter things and recreate the simulation.
First you should check out your render settings. Sometimes a hole or crack is nothing but an artifact caused by your render- and/or material settings.
If this is not the case you can do the following:
  • Use more frames - using more frames for the same pose helps the cloth to relax and stretch while it follows the pose.
    If you add more frames (by typing a higher number in the field that holds the "30") you have to alter your Simulation Settings as well! Just type the new number of frames into the "End Frame" field.

  • Alter the pose - sometimes the pose is too extreme or your figure is rotated too much so that the cloth cracks when following the movement.

  • Alter the parameters - play around with the cloth parameters and see what you get.

  • Some postwork - While heavily postworking dynamic cloth is counterproductive cleaning out some sharp edges or a little pokethrough can be a better solution than deciding for another pose.

If you find the texture you've applied is being heavily distorted you can do two things:
  • decide for another scene where the cloth is not stretched and twisted in such a massive way.

  • decide for a material without a pattern... what is definitely the better way to go, as you will like the dynamic result better than you would like any pattern on your cloth.


What's this collision friction checkbox?
This checkbox tells the cloth engine to ignore the Static and Dynamic friction settings specified by the dial,
and instead use the settings from the Cloth Collision Objects dialog.
The checkbox that you see below the cloth parameters is checked by default.
Feel free to experiment with it, simulate and render a small scene with the default settings, unckeck it and calculate again, render and see what works best - with this specific scene.

As you may see from this example: There is not THE way to go when you work with dynamic cloth - and that's what makes it so fun!!


Working with two and more dynamic cloths at once

...well, not literally at once - but of course you can use more than one item in a scene.
You just have to take care that they do not intersect on the first frame. Now how does this work?

Let's take the Hennin with the Flinder and any dynamic dress you may have as an example:
Start by setting up your scene as you've learned above.
You should always load and calculate the item that fits your figure more tightly, this will be the dynamic dress in most cases.

Set up pose, camera and so on like you've learned and run the calculation.

After you've finished your simulation, create a new one (Sim_2).
Now load the Hennin and the Flinder, clothify it and add the dynamic dress to the objects it has to collide with (beside your figure, clothes and so on).

If you find that the Flinder intersects with the dress on the first frame you have to alter it's position like described *here*.
Run your calculation and enjoy the result.



Step by Step
  • Step 1: The dress (here: Carib's free Nightdress, fitted to V4) represents the dynamic object that has the slightest distance to the character. So we add and calculate it first.

  • Step 2: The Flinder has a higher distance to the character. So we load and calculate it after the dress but before we add the Cape.

When you decide which item to load first and what item will follow, it is only important how the dynamic object fits when you load it!
Poser will take care of any kind of deforming/widening/distortion during the calculation if you took care about the collision settings.



     
  Step 1: The Dress Step 2: The Flinder

  • You can add more dynamic items to your simulation. Just keep in mind:
  • Create a new simulation for each item
  • Don't let them intersect on frame one
  • The item that is the closest to the character has to be calculated first
  • The item that comes next MAY collide with the first item, the third item may collide with the second and first and so on.



Keeping the scene, changing the cloth
So you have a pose, light, textures, everything - but with the Torque instead of the Hennin it would look even better?
No problem! Just delete the Hennin and the Flinder, add the Torque and Pearls, clothify it and run your simulation.
All collision settings will be kept.
You just have to make sure that you do not miss a thing if the new cloth is longer/wider/tighter than the previous one and if new props are in your scene
(here: The pearls instead of the Hennin).


You want to use the hats with hair? Well, you may need a "two render" solution and some postwork...
Most Poser hairprops and figures will poke through the hats, but there is a workaround. Set up the scene you desire like you are used to, add the cap and the veil/the pearls and calculate your simulation. Save the scene and render the result.
Now add the hair of your choice (we recommend simplistic, not too voluminous hair that fits halfway under the hats), go to the last frame and render the scene again.
If you have an idea of where the shadows in the scene are altered you can do an area render of just the altered part of the scene.
You can access the area renderer (Poser 6 and higher only) via the little camera icon with the frame on top of the preview window.







Render with hair
Used hair: Additional Hair by Neftis/DAZ (Base Cap only)

The hair's morphs where used to fit the hair to the Torque as good as possible and to prevent it to intersect with the lower veil.

For the cloth-room simulation the hair was added to the collision objects to make the veils, especially the lower one, flowing around it in a natural, elegant way.

I used a value of 0.6 for Collison Offset and -Depth.
Render without hair

The hair was set to invisible (I turned off visible, visible in raytracing, cast shadows) but left in the scene for the case that corrections have to be made later.

A hint about file formats
This combination of images was done with tif-files. If you prefer the png-format for having a transparent background you'll have to erase the veils that are in front of the (transparent) background on one of the layers. If you leave the veils on both layers they will be combined in the final image and look almost opaque.
The postworked combination of both renders

Hair that poked through the cap and covered the little pearl-decoration on the lower border was erased out. The back of the hair was carefully adjusted with the eraser as well to get a nice and believable shape that fits the way it hides under the cap.



Load both renders into your favorite graphic application. It is up to you if put the hairless render above the hair-and-hat render or vice versa.
Try both ways and decide what works best for you and the specific scene.
In the example above I use the "hair-render" as the upper layer. I set it to half transparent and erased all parts where I did not want to have hair.

When you postwork renders by following this method, you will have to look carefully at the shadows, these may have to be corrected as well!

When you are done set the hair-and-hat layer back to full opacity and you are done!
All you have to do now is save a flattened image from your work.



To drape or not to drape...
When setting up a cloth simulation you have the choice to add drapeframes.
The drape-simulation will calculate the number of frames you enter in the field before the rest of the simulation will run.
If you use draping or not, is totally up to you.
A basic rule:
If your pose is rather static, does not rotate much, and if you do not use a windforce, you should give draping a try to achieve a softer, more natural look.






The number of frames you use is left up to you as well - you may want to start with something between 5 and 10 drape frames.
If you are unsure you can test the effect by clicking the "Calculate Drape" button beside the field where you enter the number of drapeframes.
This will run a simulation of just the drape so that you are able to get an idea of the effect.
This "preview calculation" will not be saved with the scene!
If you want to keep the result of your drape calculation you have to run the complete calculation as you are used to
(by hitting the "Calculate Simulation" button) and then save your scene.


The scene below contains only slight movement, only few degrees of rotation and no additional windforce. This way only few forces affect the dynamic veil.
Some additional drapeframes are able to add the illusion of gravity and movement anyway.



No draping 15 drape frames



   Sitting Down

The veils are not very long and so your figure will hardly sit down on them when you place it on a chair.
But of course the veil can get between your figures back and the backside of a chair.
If you want your figure to sit down on a prop (a chair, a box) set up your scene and simulation as usual.
But you should move the prop you want to use as a seat away from the figure on frame one, and have it in place on frame 20.
During the simulation the prop will "slide" under your figure and either push the cloth away, or squeeze it between figure and seat.
To see an animation with this technique you can download the free tutorials that you'll find on the prodcut pages of our "Soft Sheets" products
(Renderosity Marketplace).





If you want your figure to lay down or sit on the floor you should use a different technique:
Apply your pose on frame 20 as you are used to.
Make sure that the headdress does not stick in the floor or any other surface and allow a little bit of space between headdress and ground.
Copy or write down the position of V4's hip.
Now go back to frame 1, paste the values to V4's hip and move her slightly upwards if needed until the veil does not touch the ground.
Move the animation slider forwards and check if the movement of your figure is half-way smooth.
Now go to your collision settings and UNCHECK "start draping from zero pose".
You are done. Run the simulation and see what you get.
This little trick keeps the veils from floating in the air while the figure sits or lays on the ground.