3 Simple Steps to Drawing Realistic Hair | Clarice Greening | Skillshare

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3 Simple Steps to Drawing Realistic Hair

teacher avatar Clarice Greening, Fine Artist based in Guernsey

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (20m)
    • 1. Welcome!

    • 2. What we'll be using

    • 3. Our main drawing

    • 4. Creating the texture of the hair

    • 5. Layering with softer pencil

    • 6. Adding the highlights

    • 7. Application of techniques to the rest of the hair

    • 8. The finished product!

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About This Class

  1. Welcome to another video! This time I will be explaining how to draw realistic short/facial hair using 3 simple techniques.

You can apply this technique to different styles & lengths of facial hair as well as if you are drawing with colourĀ - it doesn't have to be in black and white.

In this video, we will be covering:

- My unique scratch technique

- Using softer pencils to unlock the hair texture

- How highlights & white pencils create a new dimension to the facial hair

I hope you enjoy the video and find these tips helpful - if you have any questions, please leave them down below and I will be more than happy to answer them!

Meet Your Teacher

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Clarice Greening

Fine Artist based in Guernsey


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1. Welcome!: Hi everyone and welcome back to another one of my Scotia videos. Today we're going to be focusing on during facial hair and using the right effects to make it look really realistic when actually, it's quite effortless. Gonna be working on shadows and highlights, but we're gonna be using a very small range of pencils to get this really realistic look. You can apply this technique to other facial hair too. It doesn't just have to be stably facial had. And I'm also going to be explaining how you would draw this in color rather than just black and white using shadows and different tones. These techniques are really simple and easy to use and I'm really confident that you guys hogan, Well, let's get started. 2. What we'll be using: But look at the pencils that we're gonna use today. I have a six H Hair, which is one of the harder pencils that we are going to use. If you don't have a six H, you can use something to indent the paper that's basically shop, but it's not going to leave any color on the page that are indenters that you can use, I think can get them for Amazon. I'll try and leave a link somewhere, but you can also use one of them. If you don't have one of these, then we are going to use a seven Bay, which is one of our soft this pencil. So it's gonna be nice and dark on the page. And then we're going to use a full Bay, which is kind of in between that range. But slightly on the darker side. Also going to be using a blending stump and a white gel pen. This Joe pens nib is one millimeter, which means that it's not too thin and it's not too thick so we can get a good range on the facial hair. If you're a bit confused about the pencils that I'm talking about in this video, please go over to my channel and have a look at my first video, which is about PET portraits. Well, you can find what each pencil does and what you can use in replacement of that pencil if you don't have one. 3. Our main drawing: Okay, so this is the drawing unwell. He went up to my men. And what we're going to focus on today is how to get these really nice facial has. Like I said, it's pretty simple. We're only going to use three different types of pencil. And the gel pen in particular is going to help us with these white has. If the person's head that you are drawing from is lucky enough that they haven't gone gray or so, but already, then you don't really need to worry about a white gel pen. It might be nice every now and then to kind of use the white gel pen on the bits where the facial has caught the light. But we won't be using it as much as we are today. If the past and that you're drawing isn't silver gray. 4. Creating the texture of the hair: Basically what I've done in this side already is I've put in this skin tone that was gonna be lying underneath the bid because obviously we want that skin tone to carry on. So it doesn't just look like he basically doesn't have any skin underneath. And harm started this bit here. And we're gonna basically filling this bit and we're gonna go down the face and I'm gonna show you how to get the different tones first of all, as well as getting that really coarse nights facial hair that we want and that kind of texture, which is completely different to this texture because it's so nice and flat. And we all know what a face feels like, what skin feels like, it's nice and smooth. And the fact that we can kinda juxtapose that with this nice facial hair is a really, really cool thing to do, especially the fact that we can do it with so little pencils and solo supplies. So what I'm gonna do is I'm going to start off with my six Age, which remember is our hardest pencil in replacement at that six h. If we don't have one of them, you can use something to indent in the paper, but just make sure it's nice and sharp. It's got a really thin tip. So what I'm gonna do to start with is I'm going to look at my picture and I'm going to see that all around here under his mustache area. The hair is nice and thick. And down here it starts thinning out and there's still some skin on show here, which is a lot different to the thicker hair up here. So also because he is scrunching up his face a bit here you can see those lines. We want this to be darker because there's going to be a natural shadow under the nose, which is gonna give us a bit more depth to the picture. So if you get your sex age, and you basically stop pressing as hard as you can. And you want to make so nice indents in the paper. Keep looking at the photo and basically make it so that the hairs are going in the right direction. Because you might find that over here, for example, his hairs are linking down to these bits down here. Whereas here they're all over the place in their room. They go in two separate ways. So that's something that's going to make this realistic and not just those of little Fine has. So I'm basically going to score all of this. I remember in some areas that has a lot more built up than others, and in other areas it's a lot more spas. So down here that's gonna be a lot bigger. So thick that most of these hairs are all kind of the same width luckily, which is really helpful because we don't have to worry about making the pencil thicker or thinner in any places. We kind of just indenting the paper because luckily the bid, it kind of is 11 type of Oliva. 5. Layering with softer pencil: Escalade or the paper up here that I wanted to take. And I'm pretty happy with that. I know you can't really see anything, but when you get your doc pencil. So I'm going to use a seven b for this, which means that that's the doc has pencil, but it's also the softest. So it's going to pick up those indents that we've made in the paper, which is really helpful. But it's also going to fill in the gaps in between with some nice dark pencil. To kind of emphasize that. Say, I'm just going to actually wrap the page width. This 7B harder in the places that we want it darker. So underneath the nose hair we know that there's gonna be a lot more shadow. And under here that's also going to be a lot more shadow. So we'll bring that down a bit. But then for the other places, it's not too too dark. So we're just going to basically just hovered over there. And you can see that the pencil picks up the grain that we've put there. So that's a really nice space to get started on what the texture of this bed should look like. And it's pretty simple. So now that we've done that, I'm gonna get a slightly harder of the softer pencils and I'm just going to lay it out over the top to try and fill in the areas where I haven't caught much color. And then for the bits where I think, whoa, that's a bit too cause like around him, his lips are, I'm gonna use my blending stump and I'm just gonna press that graphite into the page so that we have a clear difference in texture as that. 6. Adding the highlights: All right, so we can say that these bits over here are a lot whiter because of his nice gray hat. So we're going to use the white pen. And we're going to literally just go over the top. Every now and then. These has a behavior. They're not, it's not white. Every heads still a bit spouse. So just make sure that you don't have a kind of pattern that you're sticking today because it will look a bit. And so every now and then I'm just going to put in the little white hair some longer than others. And then when I am happy with that, I can see that there's a bit too much why around here. So I'm gonna get my six h again. And I'm just going to basically put my pencil in the grooves of where I don't want it to be two y so that each white line almost has an outline. And then if I feel like I've taken too much off of them, put some back in as well. So under here this fits very dark. Like I said, which is what we want is darkness kind of travels up here because there's a shadow from waste. And these darker areas, I'm gonna take my 4B and I'm gonna make a lot more permanent. I cannot keeping to a pattern kind of just paying my pencil unless it different directions to give some variety. Like psi. Now up here, we've got a bit more light pieces of it, some like Skype. 7. Application of techniques to the rest of the hair: So now what I'm going to do is I'm gonna continue with my scoring of the paper like I've done no long hair. Go right down around his chin. And I'm going to mock out the bits where his skin is so that his skin is math and his skin is o. So that's why I want to avoid those areas because I don't want that scratchy texture. So I'm taking my six h and I'm now scoring in the direction of where I went ahead to go. So this hair I can see is going straight down towards his chin. And then it's kind of going round shape of his face. Going all the way down here. We're gonna leave that skin. So I've just done a load of scoring the paper around here. I have varied a bit. So in these areas, haha, my reference picture that the hazard longer and they take a lot of different directions because they're going down the chin. Whereas these ones hair very short, cause has that will go in the same direction. Framing his face. Now, I've realized that I'm doing, obviously I'm doing this in black and white. So if you were basically drawing and cut, well, you'd simply do, is you score the paper with either one of these pencils or that indentation tool that I was telling you about. However, with that indentation tool, you have to be quite careful because It's going to basically not leave any color on the page. And if you press too hard, but that tool, you're going to end up with a lot of white if you think about it because you're not putting any color onto the page. That's why be wary of that tool. So if you were drawing with skin tones, for example, and this was in a colored drawing, what you do is you would, then on top of your scored pencil indentation, you'd put the darker tones for the hat over the top of everywhere. And then you pick out just a lighter tone and you'd go in between all of these indentations. With different tones of the hand. And then for the highlight bits, you'd then put on the white pan on top to really make the highlights pop. So now that I've scrolled on my paper and I've put the skin tone in, I'm going to take one of my full Bay pencils, which has the mid-range pencil. And now we're going to walk on just the basics of the shadows of this bid so we can get just the times they can correct before we start putting all the little details. And so going to take my 4B on the side and I can see from my pitch that his smile line just heads down to the bottom of the bed. And it creates a shadow just near the bottom. They're bringing the line up his face. It does the same on the other side here. So I'm just gonna press quite lightly. And I'm going to bring that shadow down the side of the face and make it connect to the bottom there. And as you can see, papers, so picking up the little grooves that we put in it, which is really nice because these aren't just harsh lines. And then I can see that there's some darker areas down here as well. Page dot-dot-dot bits quite dark in the middle. So varying my pressure with the pencil to get these different titans just naturally with the same pencil, which is quite cool. Because, because it's soft, it's picking up the grain by itself. Really. To talk a bit just I'll put the Lipson and everything else later. But that's about right. This area down here is the lightest. I'm going to leave that they, that some darker pencils shadows in here, which I can say we can always layer that a bit more later. And some little bits around here actually as well. If you just put your pencil, the tip on the paper rather than putting on this side. Now, you will really go into those groups which is, well, stray has right, say one my photo, I can see that this bit down here, but Ticulate is very, very light. So I'm gonna take my white pen and I'm going to just basically stopped some white has. So he had this tool that shadow. But what I can do is I can overlap some of the white has from this pop. But still leave that, that line in. So it does look like he is smiling. 8-bits say coming from here. They're not going to be everywhere. But I can see down here in particular, like I said, it has a lot of white though, has some little white stray hasn't around haha, couple more up here maybe that if I do find that just a bit too in text, you simply get my blending stump and just blend them over. 8. The finished product!: So if Y is the amount, you can now see what facial habits like C, that's really simple. All you whacking with is with lighter and darker tones, as well as a few different pencils to get this ready. Really cool technique in just a few simple steps. Thank you guys so much for watching this video. I really hope you enjoyed it. I know I didn't explain how I did the whole drawing, but that's what's coming next. If you agree that these techniques are quite simple and easy to use and you can apply them to a lot of your other drawings. Thank you for watching and I'll see you next time.