Digital Painting: Hair | Emily So | Skillshare

Digital Painting: Hair

Emily So, 2D Artist

Digital Painting: Hair

Emily So, 2D Artist

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7 Lessons (1h 19m)
    • 1. Introduction

      0:29
    • 2. Tools and Settings

      1:48
    • 3. Basic Exercises

      12:23
    • 4. Outlining

      4:04
    • 5. Blocking midtones, shading and highlighting

      12:33
    • 6. Details

      35:13
    • 7. Tips

      12:46
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About This Class

In this tutorial, I demonstrate how to digitally illustrate hair. I walk through steps on how to achieve this and show you do's and don'ts in detail. 


Meet Your Teacher

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Emily So

2D Artist

Teacher

I've been teaching since 2014, and specialize in digital illustration, drawing and 2D animation. I primarily work with Krita, but sometimes work in Adobe Photoshop and Animate. As a professional artist, I've mostly provided graphics for video games and illustrations for purposes such as promotional art and storyboards.

I hope you enjoy my work. Thank you for visiting! 


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Transcripts

1. Introduction: Hi, everyone. I'm Emily. And in this tutorial, I'm gonna show you how to illustrate here. 2. Tools and Settings: So first for the tools and settings I'm using a welcome sin. Take 13 HD. Um, you can use a simpler tablet like welcome into a strong um, you could even use an iPad if you're using procreate. Um, but if you're using a desktop or laptop with Mac or PC, you can use photo shop, um, fire Apopka clip studio paint. Today, I'm using critter and generally with my brush setting. I just go with a plain old, hard heard aged, um, round brush. Um, and I like to make it so that the pressure influences, um, size and capacity so hard to repress the darker and bigger against. Um, generally, I don't really go for anything too fancy. Every now and then I might work with a brush like like this, um, if I'm if I'm feeling like I just want to make something fun. But I mean, during the sartorial, you could try something like this, but, um, probably to get the best results. Unless you really know what you're doing. I should probably stick to complain. Hard edge, round brush with with these settings 3. Basic Exercises: All right. So first, I'm gonna just draw a the basic shape of ahead. I'm not gonna go to detailed with it. And then I'm gonna draw neck and shoulders that the here has something to rest on most the time. Be on the shoulders. So and, uh, make sure you don't miss out on the back of the head. I see that over time. In my years of teaching students, most people tend to miss out on this this portion of the head over here and they tend to just kind of lop off this bit of head back here. So try to remember to include this part of the head, and I think it's like, easy for people to forget about it or just not include that because little covered by hair , um, people probably don't start up with a bold head, which I pretty much always dio first. It's good to, um, draw the objects that are underneath. Whatever your drawing, whether it's clothes or, uh or here, I'm gonna name this layer, um, the head and I'm gonna go over a few things that are they're pretty important. Teoh. Keep in mind. So I couldn't make a new layer and call it, uh, hair for now, my change of leader. But, um So I think most people, when they start out with drawing here, they try to represent every strand of hair with, ah, line stroke, pencil, stroke, whatever. And technically, that is how we think of hair in our minds like that. That is pretty much what it is. Conceptual E meaning. You know how your brain thinks of it. The way hair is conceptually is different, then the way it is visually. So this is pretty much what here is. Conceptually, it is basically a bunch of spaghetti on your head, but as far as your eyes are concerned is actually just a bunch of hairs that are, um that are all clumped up together. So visually, it's more accurate to draw hair like this. Like more cartoony. Those cartoons have a better visual representation of here. It's closer to this than it is to this. So when you draw here, it's better to do it more cartoony like this, and you can decide to not put in more details, and it's better represented that way. Visually, it be more realistic not saying that This is absolutely unacceptable, but like it would be, if that's what you want for your style. But today I'm trying to teach more realistic hair illustration. So So over here, this is what you want to be doing first. One of the exercises that I want to go over is how to make highlighted here a T least linearly, with lines not quite painting yet, but just drawing the hair. So one exercise that I recommend doing is making a lock of hair that looks like it's highlighted or has a sense of, like, shine or or has some shine to it. So a few things to keep in mind make sure that when you first start out the line stroke, it's thick and dark, and there are a lot more clumped up. Uh, in the beginning of your line strokes. You could even just come over here and make it more opaque over here and also down here at the other starting point of these lines strokes. So now, at the ends, you have to make sure that they get sinner and they fade out and they're look fewer and further apart and more distinct. And you know don't make them too orderly. Like don't completely, evenly like space. Them don't evenly spaced, um, so much make them look a little bit more natural, like more kingdom so that it looks natural. Eso some of them should reach in further than others. And so then you get kind of a lock of hair like this. Another exercise at first should be trying to draw some ribbon like shapes. So let's say I have, um a few lives just forming a ribbon like this so that you can see You can see the outside of this room in the outer part of this ribbon and the inner part of this ribbon because more or less, you're gonna be breaking, breaking down like the large chunks of hair into smaller Lux. So, um, and then this exercise over here is definitely gonna help with, you know, when you get into the really challenging, uh um, challenging types of hair like curly here, like hair that has much more complex texture. Which, if I were if our painting it I wouldn't have to I wouldn't have to draw all all the curls I just painted in solid. Um, but I think you'll probably see what I mean later. But, um so something like that be able to see the outside and then the inside. Uh, and I just drew this kind of, like, see through, um, And it's a good idea to keep track of where, Blake, Where each edges like this edge continues down this way. This kid, this can get so confusing so fast. Yes, this goes on this way, and then this goes down okay? Yeah. Actually, normally, I don't Even if I were drawing curly hair, uh, I probably wouldn't draw it normally most of the time, I was just painted. But, um, at least trying to translate your conception of what hairs like into a drawing that in itself is like, um, pretty much like a separate skill in itself. So drawing ribbons, uh, oriented in different ways. So maybe I put this on the inside like that Stuff like that. Um, now another aspect, I would say, Um so just called us here doodles from now. Ah, another aspect of hair is a sense of flow. What? I'm just gonna I'm just gonna call it flow. I don't really know what the formal terminology is. But what I mean is like I think that beginners often draw here. Lee, you know, with I'm just trying to trying really hard to replicate What I see. Beginners do, um, So, like, maybe something like this is might be what I see from people who don't draw that much hair . Having a sense of flow to me means like having a sense of elegance. This looks like, ah, huge exaggeration. But maybe it's to an extent it is really but, um, but, like, flow, I can only really describe as lines appearing more elegant sometimes like some flows of here are, Or some locks of hair rather are parallel to each other or kind of parallel to each other for a while, and then they just kind of flow in and out of each other. Uh, elegantly, our smoothly. So just having a better sense of like where you steer your lines to get a sense of elegance is only so many words I could use to describe that as opposed to, um, you know, uh, hair, that is that it's like this which again, stylistically, could work. But today I'm just talking about straight flowy here also uh, making sure that the ends kind of fate. Oh, enough. Um, and they're not, you know, too chunky like that. So is there a few things to keep in mind? And there's no anatomy to here? Not really. Except for probably like the objects that they rest on. And there, um, the different the points of growth, I guess. Like you just have to remember where they grow and how they sit on the head and the shoulders. And even then, it's like you can be really will annually about it. Can, um, just at your whim. Uh, just place it however you want or have a blow in the wind. However you want, however you want. Oh, place it or arranging. So what? Those in mind, I'm gonna start again from the bold head from basically step one 4. Outlining: for this step. We're just gonna do the outline, not whining just the overall area that the hair is going to cover. So and that involves creating the shape, uh, contouring out like the space that the here takes up as I have it. I tend to start with the roots. When you do the roots, just make sure they're, uh the smoothly transition from the forehead into the hair. Like is just soft when it goes into the skin of the forehead or the hairline and then it's more opaque. Um, when you get into the bigger, like, longer locks of hair So I'm just picking a style, just a simple the simple is I could make it. And then I'm gonna go on the other side and just have his hair fall and sit on the shoulders. Actually, Teoh make it interesting. Could've put the year over here so we can took the hair behind the ear so that we have a little bit of variation in direction of hair. So I'm gonna just put some, uh, put one lock of hair over here. One really huge lock or chunk of hair over here just parted that over here, Um, that I'm gonna have some sit on the shoulder like this. And I'm putting this hair a little bit above the line of the bold head because here usually has a volume as it sits on top of the head. So this really does not have to be that complex just for, um, for this piece, I'm just gonna try to keep it simple. And so it's important to make sure that these air curved just the right way to give it a sense of softness, but make it just just stiff enough. So I mean again, it really it does take practice to get a sense of flow, as in the elegance, as hair flows in a direction and then it splits off into, uh, into different parts. And then the ends, uh, end up facing in different directions. And that's actually another tip I should have mentioned is that when you when you end the logs of hair don't have them all facing in the same direction like this. Um I mean, go second view pretty cool style, but to keep it natural, try to keep in mind, uh, to very the directions of the ends of the hairs. So that's more or less Step one 5. Blocking midtones, shading and highlighting: for this said we're gonna block in the colors and then we're gonna block in the larger locks of hair before we get into detail. So I'm going to lower the capacity of this head. Just so, um, it's easier to see the hair mostly and actually create a new layer beneath the on line and call it, uh, color. And I'm just gonna make character today being a brunette and choose a base color. Um, I usually like to work from dark to light, so I generally choose, um, something that's closer to the darker end of this triangle. He was trying to keep the edges more or less clean, so they're not all too messy. Um, and it's kind of up to you whether you want to get through the outlines leader. Um, sometimes I get really online's. Sometimes I don't depending on my mood, I guess. Like if I want it to look a little harder with the lines, or if I just want to make it look much more painterly without the lines. But either way, you want it had definition to the here with different colors, in addition to different values. Probably keep trusting this later make it cleaner because I'm working on it. But I think what makes hair illustrations interesting is like the solo it's they make and how it split up. And also, like the negative space you create between the locks of hair. Like I feel like it would be more interesting if I did something like this. It also remembered a very the thicknesses of the different locks of hair. I think there should be a space here. So from this step, you can choose to do either, um, go brighter or ago darker since I'm working with Well, I happen to be working with a white background. That was just okay. I didn't think to make a darker background, but since most things to me are on the brighter side, I'm gonna work with the dorks first to just start adding dimension, uh, to the here, to some locks of hair. So to add contrast, I'm just gonna turn it a little bit more red or even magenta kind of, and then just, uh, start to cut in, uh, into the here or tuck by that, I mean, just push things back so that there's a bit of a sense of depth. Um, so you're pushing things in, So definitely I would shade this in, um, when the light source is probably coming from outside the hair or above head level and probably it's darker on the inner side of the here, facing towards the neck or the face. And I would do the same thing here. I'm gonna make it. Looks like there's kind of an underside. The hair over here. It was like a shadow being cast. Hey there. Yeah, just And some dimension to that as well. So So to really block out, actually, um, be doing, uh, more solid chunks of like highlights for slight highlights. So I'm gonna go into not quite the exact highlights, but start pulling, using brighter values, too. Pop out the locks of hair so I might change my color idea here, but or my color over here. And basically, you just need to pick a value that's brighter than this, more brighter than the original base color that we used. So I think that I went well too saturated originally, um, and then I'm just, uh, picking areas that I would like to be brighter. That the light is hitting a bit more directly, actually, usually liked it. Keep, uh, the process of putting in the really bright highlights the brightest highlights for last. Because those our cameras more like details like smaller details I'm gonna highlight here. And make sure you know, I'm leaving over a lot of areas that have the mid tones, of course, leaving alone the darker areas that I shaded in. So now there's even more dimension to this hair. I'm gonna try to keep it from looking like fabric, But actually, now I'm gonna take my mid tone. So color picked my mid tone and just dug in a bit or dig. I'm digging in now, Teoh the blocks of the brighter value to articulate more a sense of the texture of here, uh, as opposed to fabric. It is actually better to have a texture of fabric. At first thing, that's fine. And then it should be easy enough to work from a fabric texture to the hair texture. Then it's just a matter of, um, parting all the locks of hair. So that looks like here in sort of Hedrick, um, and start digging a little bit more over here, so What I'm doing is making the lots of hair more distinct and, um, making it so that, uh, the gaps, like the darker gaps in between they fade out, um, into really, really sin gaps. I guess you could call them to the point where you know, you can't really see them anymore. And the hair just looks like big, much more solid looking chunk. I mean, to the point where you don't see the interval the individual strands anymore. Um, and I think it's fine. I mean, it's more accurate to just visually describe hair as just so many individual strands that are kind of stuck together or piled on together, that it just looks like, uh, solid like that. Um, and it's on Lee for certain parts. If the light hits it just the right way, then you would put some definition to individuals, trans. But don't do it for the whole thing. Actually, we've most of it, um, looking like it's it's all clumped together. So I'm gonna make this lock of hair pop out for making it cast a shadow on something else, which would be, in this case, another lock up here and this one was just to push that behind. So it's actually a lot of kind of pushing and pulling or just tucking stuff in and popping , popping out the locks of hair through shading and highlighting This, I would say, is a good start before you really get into detail. With this hair, it's good to define the general areas that you know, we're gonna be highlighted and then, you know, are gonna be shaded. And then in the next part, we're gonna go over the details such as highlights and really putting a definition to the hair. 6. Details: All right, we're gonna get into detail and try to get the highlights, and I will show you at what point you can put in like, individual strands. But we're kind of getting to that point where you can decide whether to add more detail or just leave it a bit more minimalistic are cartoony toe style eyes. It, however you want because there is such a thing is overworking. Um, you're painting and then like, cause if you have too many individuals transit here, it just looks over worked and also kind of unnatural. Um, but, uh, I'm gonna try to refine at least a lot of this like me. Personally, I do like to leave, um, a lot of these brushy strokes just to you know, I guess that is kind of my style, or I feel like it probably doesn't need to be more refined. Um, especially since most people don't really zoom in, like so far that they see all my handiwork. But if they do it, you know, it's fine. Most people stay zoomed out enough to see the entire image instead of all the zoomed in details. So I'm just gonna work my way through, um, just creating more definition where I see, like, wherever it feels like, uh, I feel like it needs more definition. Um, and, um, I'm gonna try to make these colors pop by, um, kind of getting away from only using a darker, darker versions or lighter versions of brown orange, because that's how you keep things kind of dull and not not as exciting. So what you could do is take a more saturated red Or maybe like, it's like a a dark but kind of saturated magenta, maybe, and just make it make the shaded, shadowy areas look a little bit more rich and usually brings out the other colors around it . Um, so I'm just gonna tuck it in a bunch of dark areas, and you can kind of go crazy with whatever dark color you choose to pop out, like the primary. Sort of like main color of the hair, like you can even like you could try. One of the cool color is over here. Um, but for me, it would probably be a matter of experimentation because, um, and just to feel out what what might work? Um, So maybe purple works this purplish color. Um, I might try my tried teal turquoise, Whatever. Maybe actually, my work better as a spot of the mid tone areas, actually, but it should be kind of a bit more consistent in other areas and not just one area, so that it looks like it's it's intentional. So maybe maybe I can stick it for here as well. Just give it a little a little something else and really put more emphasis to Well, what is I say? This is brown, but it's looking more like a redhead, actually. Uh, so I'm gonna actually took this into the base color and kind of make it look kind of like it's going. I should actually just Let's watch this here. But I actually have ah Swatch history here. Um, purple looks OK, what if I put in school finish color in here? In this case, it is kind of a matter of taste or depends on what kind of look you're going for, um, on actually deciding where to tuck in these work colors. Well, so I think it's more a matter of experimentation, but like, don't, um, don't put it everywhere. I guess maybe you could put it everywhere, but it really depends on, like how intensely you place it. Um, like you could probably overlay this whole thing with the tent of green. And it would, um it would also probably cool the whole thing down. Um, but this is just an example of using ah, color that is very unlike the base color or in this case, perhaps complementary opposite side, almost pretty much opposite side of the color wheel to really give a color contrast and just pop out the colors a lot more. Um, now, overall, with the way that we make thes shapes with all the different values, like this bass tone going over the brighter tone and also the brighter tone itself, Um, you're just making shapes along what the three dimensional surfaces like. It is more or less, um, related to what I had taught before, which is, um, having thicker areas and areas that are thinner and fade out into whether it's the highlights fading out into larger part ings of the hair or the parties of the hair that fade into, uh, joint locks of hair like that. So just remember to try to make sure that they look, it's a dental on natural rather than being too orderly. Um, actually, I would like to dig in Some parting of hair appeared like some of the yeah, parting of the hair. It's all parted on one side of the head. Yes, I can talk in this area. It's more a matter of I feel like it's a little bit more pop to this, this whole chunk of here over here and pushes this area back as well. Uh, I guess I could put this like, uh, one of this color is slight, like dark magenta, our burgundy like over here. But I feel like that might be a little bit too hard for my taste. I could try it and see, But if you're going to do it again, make sure you follow like this idea. Um, I mean, if you're not all the way at the end of your in the middle of a bunch of hairs, it just needs to be harder and, um, thicker and darker, like in the middle. And then, like, soften and thin now at the ends and fade out and thin out at the ends, saying like, more like in this area when I just pointed out. So I'm gonna go into the highlights. We can try. Yeah. Yellowish highlight or an orange ill A highly see what happens. I don't always know. Like exactly what color to use. Especially since I actually I haven't painted as I might have said Painted that many brunettes or even redheads, actually, Um, but don't say you could use this color again. I would say this is had heard of, like, what kind of look you want. But as for the value were brightness, highlight should be significantly brighter. But, um, I'm going to say that this is to break It doesn't need to be that break against, uh, the, um the brighter color over here. Um, then at that point, I feel like it would just look like, um well, that could look OK as a style. Put me personally, I would choose something a little bit dimmer than that you might even try to put in again for the same reason that we chose a teal or turquoise over here to really bring out the orange or brown. Um, I might try some other color that is different from what we already have, even for the highlights. So, um Nuffer highways or glints don't put them everywhere. Make sure that they cover a smaller, an even smaller area. Then, like every other tone that we put in, like a shade, the mid tone and then the brighter tone. Um, because if you highlight everything is you'll lose the effect. So as for in the shape I generally like to stick with. But it's really low contrast there. But generally, I guess i e make these lines strokes longer on the edges of each lack of hairs. Like if I have a lock of here like this, um, se it's filled in with mid tone. Then I would just highlight it like this with the edges longer and then on the inside, making sure to make it look natural and, um, not like, completely like to orderly, though again that that could be a style. But in this case to make it look more natural or realistic, it's probably gonna be, um, more random. And how long these three strokes are. I'm going to keep the edge is longer. So again the inside or rather yet the inner parts of each of these strokes are going to be more opaque, thicker. And then the ends need to thin out and fate Oh, and B, the ends need to be distinct instead of stuck together. And I think so, basically like that. Um, and that's what I'm trying to do with these here. But also trying to vary enough, Uh, all these shapes and making while making sure that they conform to the flow of hair. I think I'm just gonna make it be more intense is we go to our great just, uh, there's no real reason for it Just felt like it. And that's actually mostly what here is, unless you're copying it directly from, like a photo reference. You really can have a lot of fun with this because it's a lot more whimsical than Lake, um, the rigid structure of the face or the skeletal structure. I'm probably not really gonna highlight it over here. Not that much, just cause I'm trying to keep some measure of consistency of waiting, I might add. So a bit more Teel like over here. So, yeah, I'm not putting two months shaded area like everywhere. I'm just allowing look, reserving space for that some for mid tone, some for highlights. And then, as for the much thinner strands, if you wanted that realistically, there, just if you put it everywhere you might get, um you know, like, really fuzzy hair, You might be sending a message that, you know, this this girl doesn't keep her here that well, but, uh, if you do it a little bit, it might look a bit more realistic. So I would say you mostly see them as a silhouette, or you might notice them as a solo it, like, on the outside. And if you do on the inside, I wouldn't I wouldn't do it like everywhere. So, um Okay, well, on the edge, Um, over here, I would say, like, you wanna have the hairs ending, like, facing different directions. Now, this looks particularly like Fuzzy, um, and kind of messy, but And because I did it in one place, it looks accidental. Or, um, it's not that consistent. Just cause one place. Um, Now, if I really want to get down into the thinner hairs, like, really detailed, then more naturally, I just realized I haven't done this in, So you want across the hairs over. You don't want to have, like, such an orderly roll like this. Because even if people come out, they care that much. They're still gonna cross over like the hairs air. Not really. Good. Do this for a long like shampoo commercials. Obviously, I don't know how they do that with their hair. That it all looks like this and just almost looks like CG here. Put Realistically, uh, hair is gonna do more or something like this. Um, like, you know, like, two minutes after I've combed out on my hair, it'll it'll just be like this and then, uh, go off in all these different directions. So, um, this is one of those only times that you really, uh, do it like that and start representing individual strains of hair with actual brushstrokes . But I wouldn't I wouldn't do it everywhere, because eventually they pretty much all get clumped up anyway and again, as far as you're concerned, it is all in clumps. Mostly it's on Lee. Every now and then. You might have a straight hair that comes off this way, and, um, just disappears into another cup of hair, something like that, and yeah, I guess I used to draw much more realistic hair, like, as realistic as I possibly could. But these days, I guess I'm not as into it. But if you wanted to probably cross them over, you might even like tryto blend these out first. So I'm gonna take this some and critter, just take the Q tip. Um, tool, You probably find it under all and then scroll down to the Q two. Um, originally, I would just, like, blend these out and then do more of these individual like, down to this level of detail con Austrians. And actually, I would do both the darks and the lights in combination, um, to emphasize the spacing of the hair strands and the spacing between the hair strands and the hair strands themselves. So and actually, the other important thing was to make sure that they faded out smoothly into the rest of the hair. So, actually, I'm gonna try Teoh at someone will first add a darker base and then add from brighter turns on top of this and then darken it again to make it look kind of like some of these strands or these locks of hair are casting a shadow over other logs or strands of hair. And that would also help to pop out, um, about the hairs that are more on top. And now I'm actually using a brush size that is way too consistent. So maybe I can thicken it forest down a bit to try to make it more natural again. Now, those were choosing Where did you this? I mean, it looks so where because I didn't do it everywhere. And now if I really to get into this and put this like everywhere, which I could probably take me at least in our another hour. But, um, if you're gonna do this, are probably make sure if, like, I wouldn't put it everywhere, maybe in the more highlighted or mid tone areas. But if you get closer to the darker areas, just like fade out into it because then it's it's so dark that you can't really see all the details. Um, so putting in a really fine details everywhere is not necessarily gonna make your illustration better, because for the for the same reason that you know when you're when you're painting environment and things are far away from you things lose detail or they kind of fade away, actually in the distance and you can't see the details. So in hair, I want to get stark enough. You can't really see all the detail in the darkest areas, like like in here, so it's probably better to leave it nonsense detailed. And, um, I mean, in this illustration, I wouldn't even necessarily get uh, down to that finding too. But, um, the thinnest I would dio is probably this, like, this is really, really I guess it'll depend on what kind of look you're going for. But in case you want to do really realistic, uh, strands of here, then it's a matter of putting down a dark tone and then having a mid tone on top of those dark tone with the strands of here and making sure that the ends kind of fade away into the rest of the hair wherever they go. Um and then, uh, doing also strokes of the dark tone on top of these. But also like me, he looks like there's shadow underneath a bunch of these strands or locks of hair and continuing to pop them out over and over again until you get the desired look. So remember not to get too carried away. Sometimes you should just stop zoom out and ask yourself, Is this the look that I want and my overworking it? Should I work on it more Because a lot of people get carried away with that sort of thing and end up with an illustration that might be overworked. But that spot was just too demonstrate that sort of technique with details. Strands of hair are realistic strands of hair. Um, I should probably go over also the ends of the hair. Um, it's a good idea to make sure that the end, uh, more wispy. Same idea, as I've been demonstrating over here, but have them end kind of facing off in different directions. I have had some dimension to this by trying dark at bit to pop out lighter tones. Good. Yeah, it's not too much different. I mean, you faded out over here. It's also gonna be kind of faded off here, but, um, it needs to be solid enough to look weak salt object on top of the backdrop. I could probably lower the capacity here. Like if I actually if I took away the outline and just work with this is on Lee Onley the painting. No, Leinart. I could show you what I would do if it's just painting with no, no more minor. Find this and make sure it's not too orderly. Looks like I'm evenly spacing these a little bit too much the ends of the here. I want to keep it looking natural. No to artificial. Pick 100 tones over here. I used to get here. Keep it inside Like this Mentone, over here. The brighter tone. Maybe century. A little bit more. Keep this a little bit more for Andy. This color is I don't think I'm very good with color names. Um, you for well, I did show, like, the individual strands on the inside of the silhouette over here. Um, but these details can also come off into look out here as well to look oh, more natural. But also give it, give it a little bit more. Well, in this case, more interesting. So let, But I wouldn't recommend doing this sort of thing too much and putting it in certain places Well, won't give it a certain look. So um, me that the hair looks kind of wet or or just messy, but there's there's a certain realism to it, But again, I really don't do that as much these days, and it's I'm not saying it's right or wrong. It's more a matter of choice, and it's just media showing how to put it in finer details into your hair. I really want go crazy with it. You say make it start occurs it comes been but brighter as it faces more tours, light source, something like that. Um, and of course, the background color is definitely gonna effects. How it looks, colors and contexts are definitely gonna look different. So, um, color choice, uh, think it really depends on what kind of look you're going for. Uh, it'll pop out more with cooler color in this case, cause it's mostly warm colors for the for the hair. Um, and if you choose a darker background color than it's definitely gonna look much brighter just by comparison, um, we'll probably have to think about what background color I'm just gonna go with. But, um, some tinted background, I think, is better than just a plain white background. Um it'll give it a mood. It'll put the colors more context and probably popped them out even more. Um, so that's it for this stuff? Um, if you want to work through and detail of more with the techniques that I show you, you can but remember to stop, step back and be like, Do we want a more detailed or do we want to leave it a little bit more simple really depends on your taste. 7. Tips: Now, I'm gonna go over some tips and talk about some pitfalls that I commonly see amongst people less experienced withdrawing hair. So one, um, ending your line strokes, like, really hard or keeping uniform line strokes that air like this. So, like making them like that, Um, you want most the time. Each of these, like, even like with each value, uh, in the highlights, the mid tones, the shades, um, the shaded areas rather usually have the ends, um, fade out and become a citizen center. And in the middle parts or the beginning parts of these, like where the shadow begins up against this lock of hair, it's thicker, It's more bunched up together, and then it fades out nice and thin and flowing like that. So I often see something like that with drawings or, um, or with any kind of hair illustration. Next, I would say I often see too much uniformity, so I'd probably fix it over here like this Thickness of this lock of hair is looking like it might be two similar to this one, so I probably just I think in this one, um, whether in the middle of the hair or at the ends? Um, just try to make sure it's different, mostly at least what compared to the ones that it's placed next to gonna put in Teoh over here. And, like so, for example, roughly same hairstyle, I might see here part ings like like this very uniform. Probably want it more just just very the thickness. And also very like where the ends of the hair like and pointing if you split this off in half so that it's not completely uniform? Uh, so maybe thinking this one's not this one. And make sure this lock of hair is a different thickness. That's probably not as uniform as this over here. Another thing is, if you're working on the inside of the hair, painting it or drawing it, make sure that your line strokes conform to the flow of hair. Um, going off in the wrong directions. Well, just, you know, break the illusion and not really make it look like you're, you know, drawing here or illustrating hair. It'll brushstrokes are just random line strokes. The other thing about that, with the flow of hair, is knowing how to draw, uh, three dimensional contours. So what I mean by that is, let's say you have a three dimensional shape like a cylinder, for example. You want to be able to draw the loops around the cylinder, so that's an example of three contours. Another is, um, Link. Let's see a ribbon. The three D contours should be able to tell you what that surfaces like. So if I were to draw stripes or make this scarf or ribbon have, like a plaid design, then I should be able to get, um, a sense of three dimensionality from these lines, or these lines would show your understanding of the three dimensional surface. So, um, that would follow that when you do these highlights or the shading for the mid tones that you're always going with the flow of the hair. Like if this car is down this way and curve it down that way and, um, and the texture is important as well. The hair is mostly going vertical until the wrists on the shoulders, and then that's another, um, sort of object that it's sitting on. So mostly the head is kind of like a spherical object that the hair is sitting on top of so you wanna be able to put Tom your line strokes on there like you're conforming to a shaped like this. So let's say I have actually spear, which, of course, in two D you started with a circle. Then you make it look, or you get the feel of the three dimensionality by drawing again three D contours over it. And then if you wanted a thing like a crown or tiara or whatever kind of headgear or decorations garlands, then you'd have to know, too, Uh, how to draw the 30 contours, uh, in a different direction as well, so that it would it might look something like this for if you wanted to tight here, here, back like this, then you have to make sure that you understand also three d contours and have a go in the proper direction. Another tip is what I've seen also is the ends of the logs of hair. Make sure to give them more length so that they have more length to more gradually kind of fade and thin down, so that the tips are really, really thin. And sometimes you just see, um, perhaps more individual tips of strands of hair, maybe even split ends if you want to get that detailed. But when I often see is here's that just kind of abruptly and like that. So you probably don't want to end, uh, with locks of hair like this you want to get, get the flow in there and just end them much more gradually with more length so that they have more length to smoothly fade out into much thinner, more individual tips. So, yeah, don't leave it too short like this. Do it a bit longer. So it gives them or length to fade out smoothly and elegantly. And one last thing is not digging and deep enough with the values. So then everything is just too, uh to washed out like there's not enough pop between the different locks of hair. So what I often see is, uh, perhaps people are a little bit too timid, and the colors are just so washed out the like, whether you're drawing hair or you're painting here, people get so timid and then the hairs are not parted enough with more distinct locks of hair. So just remember to really, really dig in and and just make sure that the locks of hair are much more distinct by shading in the darker areas darker and making sure that the highlights are brighter and also making sure that the shaded areas the highlights, the mid tones you don't just leave them as lines. I don't just leave this as Don't just leave this as a line. Um, like don't leave them as line strokes like that. Make sure they are shapes that conform to not only the three dimensional surfaces, but these need to be shapes. Very irregular. Uh, very organic shapes. But make sure that you don't leave them as like a bunch of lines in the hair like this. Um, they should be blending into other areas, depending. I mean, you have some hard edges over here for the highlights. I have some harder edges down here. That's fine, but sometimes they can taken transition a little bit more smoothly, But still, these air more like solid shapes like as opposed to this, do more off stuff like this, just like how I have it here. It's less like line strokes, and you just use the lines to create more solid shapes, and then you might fill them. And this could be a shaded area. Or this could be the highlighted area or even a Mentone area, more or less those air. All my tips to common pitfalls. I hope you enjoy it in this tutorial. I hope you found it helpful. And thank you so much for watching.