BTW, I've been fiddling around with non-human figures, making a copy of a section of the head-neck mesh as a skullcap. Needs external editing to reduce the polygon count... Dynamic hair for a horse's mane, for instance. Missed this one last night... I don't recommend using the grouping tool in Poser with an existing mesh for several reasons. First, my emphasis is on distributable hair. It would be, IMO, unethical to redistribute vertex placements based on an existing mesh without prior permission. I know you probably weren't planning on doing so, but learning to make a cap like this may be a hindrance down the road. Second, I don't like to rely on outside applications if the tool is available from within Poser. While the cap I'm using was modeled in Wings, it's possible, and not too rough tocreate a workable one in Poser. Normally I would encourage people to take up modeling, and I totally think Wings, which is free, is worth a download. However, I don't want to force users to step out of P5. As for your horse's main, and just about anything else you want to do, don't make the assumption that a skull cap has to be a welded, continuous mesh. That's thinking too far "inside the box." Try this experiment: Take three primitive planes, and place them close by each other, but not touching, or connected at any point. If they do intersect, it won't matter, but it will make it harder to see what Poser's doing. Export them together as an .obj. Next, move one or two of the squares a bit, and export as an .obj making sure to check the universe box and the "as morph target" box. To finish set-up, clear the scene and import the first .obj. Click Object>Load Morph Target select the 2nd obj and name the dial. Next, go to the hair room, and set up 6 hair groups, which we'll label A, B, C, D, E, and F. Group A will consist of only Square_1, B of square_2, and C of square_3. Group D will have two poly's being square 1 and 2. E will consist of square 2 and 3, and F will be squares 3 and 1. Now, populate all groups with 40 or 50 hairs, then twist them all together halfway from root to tip. Go back to the pose room and move your morph dial, paying attention to what happens to the different hair groups, and how they interact. Congratulation, you've just received a crash course in softdynamics. :) Obviously, the interactions created are extremely complex... I've been developing the technique by manipulating vertex placement and creating custom morphs, as well as "rotating" certain poly's while keeping them free of the cap mesh. Will post some cool results tomorrow or Monday. :)