Hair Painting for Beginners: Illustrating Braided Hair | KD Ritchie | Skillshare

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Hair Painting for Beginners: Illustrating Braided Hair

teacher avatar KD Ritchie, Book Designer at Story Wrappers

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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 (41m)
    • 1. Intro to Braids

    • 2. References Bread and Braids

    • 3. Braided Bases

    • 4. Adding Braid Depths

    • 5. Bringing Out Highlights and Strands

    • 6. Refining Your Braid

    • 7. Final Touches and Polish

    • 8. Final Thoughts

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About This Class

If you want an easy solution for painting a braid, then this class is for you!

What you’ll learn in this class: 

  • References of Bread and Braids
  • Finding Your Base Shape
  • Thick and Thin Braided Hair Styles

You’ll make illustrated braided hair that is perfect for photomanipulation or original character design!


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Meet Your Teacher

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KD Ritchie

Book Designer at Story Wrappers


I am K.D. Ritchie, a book cover designer at Story Wrappers. Within two years, I created a bestselling book cover design business catering to indie authors and publishers. My focus is character design, with an emphasis in fantasy.

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1. Intro to Braids: When you don't know how to create a harebrained, you could end up with something that reads more like a distraction than something beautiful and romantic or edgy and sleep, which means limiting your characters in ways that aren't ideal. Instead, I'm going to help you solve out the mystery of the darted braid. Hey, I'm Katie Richie, book cover designer on story wrappers. Or I create artwork for clients and now teach students to, when you could puzzle out how to render a brain with just a few strokes or the ways in which you can kind of go ham on it. You're going to wind up expanding out your hair variations for characters. And just a few minutes with not a whole lot of extra effort put in. If you want an easy solution for painting abrade, the miss class is for you. Let's get started. 2. References Bread and Braids: Okay, first up, we are in reference land as usual. And what are we going to be finding breeds, of course, but before I do braids, I'm going to be doing something different. You saw this section title bread. Yes. Right. So I'm going to do graded bread. Yeah, that might sound crazy, but, but when you think of a basic abridge shape, it's literally something very bread like. And I'm literally going to just get this bread right here, opened up. Let me see. Dot might just do it. I just need one to show you that as an example. All right, because we're gonna be breaking down really simple, right? After the bride, we move on to hair, braided hair. For this example, I'm going to show you something that's not too tight, but not too fluffy and big. I'm going to keep it really simple with a nice three, the three strand braid, the typical style that we see. So I'm not going to be doing something like this where it's really pulled out. But you can take when I'm going to teach you and adopt it says something thinner or something larger. Literally this one up here is really lovely. For an example, something like that might suit you really well. I have it, whereas she's kind of got this braid over her back. So something like this could work it a little more by slightly messier style. This really, really messy style I find really, really beautiful. Not gonna lie a little bit tempted. I'm probably going to pull that up as reference. And then with my main goal on this particular piece, I'm going to see about how this braid might fall, which could be something like this over here. But the perspective is not quite right. I think it's important to try to find a perspective that works really well. So I'm just kinda looking, kind of seeing what I want to go for all these braids. I am just over the moon. Happy. So pretty. This is a good perspective, but the brain styles not quite right, but that might just work out for perspective sake. So this is very similar and kind of have this overs the shoulder pose which you'll see soon. Something like this could even work. But I'll be adapting a little bit because let's just see over the frayed and lets to shoulder. Let's see what we kinda get here. Okay. Yeah, I know work getting some things. This is gonna work well, I don't think I pulled that one opening it. So I've gotten some references done. What I'm gonna do is put them into Photoshop and then I'll meet back with you in the program. 3. Braided Bases: Okay, next, we have our references have place. Here's my document with my character I've created. She's this kinda fantasy, dark fantasy, very gilded up sort of Lady. So what I've done is in my final version, not sure if I'm an end of having a bright or not, but I thought it would be interesting to kind of do this over the shoulder branches to test it out. And for the sake of the class, it's going to be a lot of fun. So you can see first, we have a lovely bread here. And so in this understanding brain shapes, I've covered this in other classes when we talk about the shape of something, the shape of a base. So I'm going to just go ahead and pick out a brighter color to show you something which this might not be necessary for everybody. But because of the way my mind works, it's it can get very tunneled, focused. I'd like to show something in a more simple way at first. So if we look at the brains that can get kind of detailed, oh, there's all these colors and if we break it down like this nice little Delhi brain of bread, the shapes go, go this way, go this way. And this way. They go this way. This, it's just in, out, in, out weaving, weaving, waving. Okay? Your basket weaving degree will be helpful if you have one for this. Alright? So you're just going here, here, here, here, here. And for those of us that are not skilled at any kinda basket weaving or uses kind of shaped pattern. Just think of it as simple as the braided bread, okay? Seems silly. But it really is this simple, gets this kind of shape. And if we take off this and we just move this face and when you look at it, that's the shape we have to keep in mind. Okay. So you can see that's the same one is this this one was done in reverse so that if you want something like this one, all you have to do is literally you're flipping it. And now you have that pattern right there, see it. So depending on how the brain is created, that's what we're gonna do. We're gonna follow this pattern because this is a very typical classic pattern for the brain. So I can see you can keep this up for myself and just as a reminder, okay, so when we're thinking about creating our base, we're going to create a new layer. We're going to lock that in place. And I'm gonna go to my rashes, which of course are in the section of resources didn't just a dam below, under this class, they're free. You can use your own brushes. Of course. No worries there should you want to, but they're there if you like them. So I'm taking the brush one, the standard Russia, US on almost all my classes for most of the project. And you can see I kind of created a little bit of a base here. And we're gonna kinda like have an offshoot, raid and blended up. And I'm probably won't know. We'll see I could maybe polish this off if we want. But let's create that shape. Okay, so when we're thinking about the shape, we're going and we're creating this layer here. Aaron is. Let me just clean that up a bit with my nice little soft brush. So we're thinking about, here's all the shapes and I might go a little, I'm so time to, I might not go too messy, but the second class I want to, but I'll probably mess it up towards the end with my strands. So in and out, right? So we looked at this pattern here, here, here, then here, then another one going here. And it's kind of where this one ends. Let's get in. This one will end. The southern one kind of begins a little bit, if that makes sense. So this one's kind of ending. And this one's kinda beginning. If you can kinda see how that works. So this one here, here's the tail end of the base. Then this one's gonna kinda be beginning their tail end up here, kinda, kinda started that little gap. And and I'm just, of course are going to adopt this and create all kinds of fun shapes. I'm doing a very classic straight down brain. And I'm not going to even give two length to it. Because once you understand the basis of that, we can make the braid going out here. You can have a fly all around if you want. But for the sake of just kind of keeping it simple for claps, I'm doing something very easy. So that's literally are frayed beige shape. And then we have a little tail part, which I'll just do a simple little tail, just competitive kinda go straight down for now and then set so you can keep open a reference if you want. You can, if you want on yours, you could, you know, I might further out and blow up the top here. You can expand out your base and kinda, kinda flay with connecting a little bit of it and use some of these gaps. We're not going to have our normal ribbons and cheese gaps that I've covered in my shape and slow it's going to be a little bit different. Or making our jobs and our errant movement and love different away. And this is a more compact situation, like it would be with curly hair or a little more compact. Okay? And that's, that's literally are based. So once we have our base, we're going to move into starting crediting duct and our base. So let's go ahead and start that up. 4. Adding Braid Depths: Okay, let's make a new layer and lock it into place next foreign to me creating our dept. So for this braid, there's some different ways we went to want to go about this. I've shown a technique where in my curly illustrating curly her class, we clipped onto the brain itself and did a soft brush technique, which I think could be a nice quick way to get some read on its depth without getting too stranding yet. So what we're going to do is let's just go ahead and click this on and switch to our soft brush. Just basics opera. She comes to Photoshop. I try to keep everything free and basic Through my tutorials. So when we look at the braids now, I picked a bunch of rays that have a lot of highlighting, a lot of highlighting. But if you do notice that through the center point on all of these things, and I'll make a new layer to demonstrate with some bright, bright in here. This is where light is not escaping. This is where things are tucked in tight. You're going to see that on all of these, this is where we get that main depth. Okay, this one's not as obvious cup of lighting, but it's there and it's there. And you can see in this one it's a little more jagged ID, but it's there. I picked a lot of a very highlighted types of hairstyles. But you can kinda see it on this one and especially this one actually worry there is she's blonde but she's got a lot of depth. Okay, so let's switch back to my other brush and just kidding ourselves over keeping a soft brush. And because I have this darker is type of hair here, I'm going to just going to pick a darker thing. I'm going to go through. And on the center point. And creating that streak octet. Just following along. That's what we get, that the hair is tight and it's it's folding into itself. So you aren't going to have a lot of light escaping out of it. And you can already see that already is reading like, oh, that's the base of a braid. Right up through the top there. I'll be blending that a little bit together and we'll be highlighting on top, okay, you can arc this out, but what tends to happen? Really, there's, there's maybe a little bit at the base, but actually what we're going to be doing is creating some light with that peak. So this is bending. If we think about our ribbons, this hair is bending at the top. So for instance, if I was going over here and I'm just going to grab some white for something lighter. This is where things are going to be bending and getting brighter. And think about our little, if you've taken my class but the shape and flow, how it has a little bit of a bend and a high point like a ribbon. So these are all our little high points. Think of these as very small little sections of a ribbon. It's been bent around itself. And you can see that all the little high points are going to have these little high ribbon points, okay? Where we're also going to have some of this depth though, is if you look, it's going to be between the actual strand. So I'm just gonna go along between these sections to imply that they are entirely snagged and packed together. Okay. Just like that. Just like that. So after you've kind of dabbled in created your little bass section here. What I want to actually do next is work on a little more stranding with the lighting. So you could do the same layer, but you know how I am, I like my layers, so I'm just creating another one. And I'm switching to the basic brush here. We're gonna get to those Randy brush, but not, not quite yet. I want to try it with this. And we're not going to be so dark, but I'm going to, I'm just going to pick between the gradient here. So not the darkest, not the light is just something in the midtown. And I'm going to start this process of making things look like it's stranded up a little bit. So depending on your references, you might have something that isn't as Strand B, but I wanted to, I like showing that in just because that way you can achieve it. I'm just going through and I know I'm going to have some lighter colors on top here because we need to show that highlight. But for now, I'm just going through and you can see that. I'll zoom in a little bit for you. You can see that even with this, you are getting that strand and that read automatically. And don't worry if you have gaps like mine. I'm not worried about it because I'm going to be filling those. And personally, as I move along, I kinda like a little play in here. You can see some of them sometimes have gaps if it's messy because I'm a little messier if you want it to be a little more cleaned up. I'll show you if we don't want quite so much, we can just take a new layer on top, picking some of those deeper tones and working it through. And actually I don't mind the way that's looking at all. I don't wanna get too messy as much as I'm a messy little hair painter for your guises sake. So let's, let's just add that as part of our base here. Now this is not quite correct. This is, this is reading a little too much, so I'm going to remove that and I've got to remember, I gotta go along my shape long, my shape. Same thing here. Since inherent gets a little too thick, don't worry about it, just think that way. Bring that face back. Same thing here. You're going along both sides of that grade. Again, really referred to a references. And think about the her as a form shape and that you have it packed together, right? Pack together. You're not going to have it on this outside last part, quite as much as it moves out here where there's no hair. So you really need to think about where's the hair not being? Escape a polite, okay, really rough right now, but that is our hair buttons. Next, what we're gonna be doing is creating a little more dimension to the hair and adding some more strands. Let's move on to that part. 5. Bringing Out Highlights and Strands: Okay, this is where I get spine. We're adding our strand. Let's switch up our brush as a little bit. We don't want anything too dense. You can always shrink this one down if you prefer. But I'm gonna go ahead and let's do this soft strand hair number to brush. When someone that looks like this, it's got four little little guys here. They don't honestly pretty much fine too. But what we're gonna be doing is adding a little bit more of our light portion on top. So for me I'm gonna kinda pick something a little lighter up here. And I'm gonna start in on here thinking about that high point and weaving it through. I don't have this clips because I'm gonna start going outside of our main shape here to help with the blending part. So I'm just gonna start up the top here with the most light concentrated on that midsection. And the rest feathering out. Again, I won't work on blending this into things too much. I don't need the other brush for that. Working on the outside as well. Really light amount going on here, but automatically see yada depth, it just gets overlaid right away. What that nice, right? So I'm gonna expand this section out because I can see that this is actually reading as one part. Okay? You can always do thinner. You can always do this really narrow and tight where you would just be you literally just being here, doing this kind of stuff. Okay. So again, just depends on your style of Bray, what you're in the mood for. And we're not going to have too much down here. I'm going to be a racing too, so I'm not too worried if it gets too much down here, it's mostly that the flow. So again, most of my concentration and that meant section, you're going to have a little more of a less information as it gets really, really bright and tightly compacted. Working this way around and towards that depth. Leaving that super, super deep part alone. If you want, the tighter you get into that depth section, the more tightly compacted This is going to read to see what that steer that did. How if I if I, the more narrow and meantime, it raises a very like full but tightly compacted brain. So going through. And this was the lightest of the light. But it's, it's fairly bright. We're going to add another layer on top of this for even more brightness. But it's not that if you just think about those forms, it's not that bad you get you do get a read pretty quickly on this when you just break it down. And that's the, the secret. There's no real secret, but that's the secret. I think any good sort of hair shape and flow is just what is the basic shape? Then? How do we render it in less strokes? Because time is money, right? I mean, if you want to, of course, on the SS, sometimes I'm going a little fast and it's not always as perfectly refined as it could be for the sake of time and just getting those basic concepts down for you guys. But, you know, we don't need to work harder, right? You always want to work a little smarter with the option of perfecting and dabbling as we go. But already you have a read pretty quickly right? Now I'm gonna take this brush and I'm going to actually remove a little bit along. I'm going to sneak my brush along and midsection, kinda see what I get. And I personally like that. It reads a little more like it's the depth means it's going in at more of a distance. There's more depth to it. And I'm also going to be moving around the top section to show that there's a high point of that shine. But I'm getting a nice feathering by removing with the soft brush. That's very gentle and pretty same thing up here. C. So if we look at that, look at that Reid who, okay, let's go ahead and make one more layer on top. And for this one we're going to be doing something similar. But what I wanna do is focus on a little bit of a brighter color and a little more on that mid-section. So I'm gonna make the brush a little bit larger and I'm just going to just kinda barely touch in those areas listed what we get here, you know, for what I want, I'm actually who's hooked to my first brush, this hair brush one and the one that looks like this little shape. Let's see if we get something that I like a little more. I do. Okay. I want it to be not so Strand D. I want this part to be a little more thick in PC so that I can kind of There we go, get it back. Ok for me. I'm kind of working this back and forth. Tell us I'm not locked down in any kinda layer to get that high point and up here, plus suppose like a nice warmer. But let's kinda move this back and for taking away the parts we don't like. And I really love my little strands. So because these are, you can see we get really lightened, stranded out here. Take something a little hot, hotter over color with as far as like the brightness goes, doesn't have to be super saturated anything. But start stranding into these highlights around the edges if you want. If you like it, a little more messy unless perfected, depends on what kind of style you want to go for. With some just kinda getting into that main section. Okay? And that's, that's how we've created a lot of our highlights. Then down here at the tail, I'm gonna also brush through apart from the tail of the hair. Right? Okay, so what I'm going to move on to next is starting to polish this up and adding more depth and more dimension and highlight also we're gonna blend it through so that you guys, you're getting something a little more perfected. So let's go ahead and move on to that step. 6. Refining Your Braid: Okay, next I'm going to start blending through the top of the brave because such shouldn't take too long. What I'm gonna do is we're going to bring up some of that darker tone up through the hair. And you might have this two I have partial photograph on here, partial paint. So I'm just going to blend this through a little bit so you guys get an idea. And some of this is a little nonsensical, but it'll end up reading pretty well when I'm done. And I'm not going to finish it completely, probably because you guys know how to polish off hair. Hopefully if you've watched my other classes, if not, feel free. So I'm not going to get into all that because that'll take a little too much time from the main thing which is the bright. So we have that section and then you can see what happens here is just basically the, the rendering, it gets a little more detailed and well rendered as we go. So for this, how do we start making this look even more realistic if you want to say that, well, for one, when we zoom in, we do have some kind of messier section. So by zooming in a little bit, you know, I like to work zoomed out for quite awhile. But let's pick the deepest color. And we're going to be going pushing more extreme. So I'm darkening it. And I'm bringing this deepest color through and smaller sections from where it's the, the, the crease of the hair or the grain is folding into itself. And on this section, so this is the section where it's folding out. The sections kind of folding in along the strand. So it's actually gonna go a different direction. Ok. It's folding into itself. And this one's folding in wherever the Harris folding in to another section is where you're going to have this ending happen. You have to follow the direction of that banding. Okay. And then you can add like your depth to say, oh yes, it's folded into here and same thing with here, and this is folding out from that depth and banding clinic, I tell you this is probably a little too dark and muddy. The colors are a little off for me, so I'm going to I'm going to adjust them a bit. Let's see here which one? I think this yellow is what throwing me off. I'm gonna go ahead and adjust it a little bit for me. Move on to something a little more. Read something a bit more. See here what I wanted. Sim out. Add a little less Saturation to it. Move it towards right a little bit. It's just the lens a little nicer that way. And for this depth actually now it's not, it's not bothering me so much. It actually looks fine for most of this. So I'm gonna go in here and you can see the hair still has the typical sectioning like it would if it was longer, you're getting those those sections of hair where it's broken up and falling back together. So you're applying a lot of the same things you might have learned in other classes and And I hope you will be able to bring some knowledge you have from either the classes you have with me or hopefully elsewhere because I think that's gonna be helpful for understanding this. While I do think this class is a beginner class, I'd say it's exiting a little bit towards needing to know some other parts of hair if you want to have it be as quick and easy as positive as possible. Okay, so do you see when we zoom out how that section it's reading a little bit more like this. Now for me, I don't this is a little too deep. I want to just lighten it up for us a touch and bring a little more saturation to it. Very finicky with my darks. Let's see here. Yeah, I like that. So what I did was I just went made it more red and come out. Turned out. I tend not to like a huge amount of contrast sometimes with my own stuff. So you're gonna see that lean on it and that doesn't bother you feel free to go as cotton you might loves like high amounts of contrast, that's totally fine. So again, on the shapes your working through, look at your references are working through the sections of that depth like where you're going to see that is just where there's little pieces of hair breaking out flake when they show, you see in here how there's little sections where it's kind of breaking up a bit. You have the civil part here where you can see it here. Part of it's here, purpose here, there's a section in the middle. It's a little, it's a little harder to sometimes see, but it's there. But that's what Gibbs things that, that refined lug and little more realism to the hair. Filling in some of those darker section, some of those gaps. You know, a little light in some spots where I think it might need it. And go back and read depth. Just kinda play with that. This is where it gets into where you can really be refining this hair for a time. A braid is a little more intricate and has a lot in common with just any other hairstyle acceptor. Here. They're doing this and refinement on each section going in different directions. So it's a lot of kind of going back and forth and thinking about the forms and how the shapes moving and all these different little parts. So if you end up with something that looks really funky or something, just keep your layers separate and try to go back on your other layers and you can always start over. You can always erase mask if you like, if you want to be super non-destructive, just mask and you tend to erase a little bit sometimes with my hair because I'm pretty cozy with it, but just, you know, feel free to mask if you want along every step of the way shed you need. Okay. Cytokines, you can see I'm kind of going back and forth and adding in depth where I feel like it needs it going at him. Like I don't want any of these really hard edges from that initial base that I created, right? It's too much, way too much. So we don't, we don't know here for that. And we're moving through the hair moving downward. This is going to have like a like I would assume like a little tie or something can keep right here. So I'm not too hung up on on that. Moving through a little bit of the tail section. And zoom out and take a look because sometimes it'll render close-in and when using them out, it's that line Q, like this right here. This isn't cute down here. And that's because I need to add where this is tracing out. And more of that highlight in that middle section because it's not making sense since making more sentences. So I'm not crazy about the shape. And just tap well with it and just dabble. So I'm happy for you to tires pretty forgiving too early is ok. So that's with and without that debt created. And I dabble a little bit to bring up my lightness of touch. If I wanted more saturated, definitely don't. I wanted a little something right around there. Makes me pretty happy. So if I zoom out yeah, and getting I'm getting a pretty good read. Next, what we're gonna do is we need to add some, some more of the, the highlights and a little more debt just went some overlays and blending mode. So let's go ahead and move on to that part. 7. Final Touches and Polish: Okay, next, let's go ahead and start refining things. What I'm going to do is group my entire braid into a folder to keep my life a little easier. And I'm going to create a cutting mat and clipping mask right there on to that folder. So I have my layered locked in place. What I'm gonna do is switch to our overlay mode. And you might know what's about to happen if you watched my classmates were going to color, pick a color. That's not too dark but to live just kinda nice midtone here. This reddish hue turned out in this and start working through on the overlay mode. Right and center. This is going to create saturation, a little bit of a sheen to it. Just overall made things really pretty. Okay. And then what I'm gonna do is color, pick something brighter. And remember these middle section parts, we're going to go right over those. Just dot, dot, dot and touch, touch, touch. And you're gonna get an automatic little pow out of, out of things. Okay. It's literally as simple as that. It's a huge difference just from that one thing it takes it from Dole tell a supermodel, Shiny Here. You can also just shift on your Hughes and kind of tinker and go to, I want to know what kind of towns I wanna go for. I'm kinda going for this bronze year things. So I shifted my a little more towards the yellows. And then on another layer here gonna lock in place. And we are going to go. And what I'm looking at these braids, and he misses very uniform. It's like almost a little too perfect. So there's some things we can do about that. Now if I, if I really want to, at this stage, I could merge these. I know I don't merge mine, Antonio. But at this stage I could merge and you kind of see how to do the really, really clean thing. But you know me, you know, we're gonna go to liquefy. And in liquefy, I'm going to rush things a little bit so I can pull the brains out. Again, move in, move them in full somehow. This is just going to give things a little more of an organic field and you don't have to do this until the end stage. Liquefying braids is a great way if you have some wonky stuff, just liquefy it after you're done. Alright? And you say, Do you want, but it's much easier if you just get to the point where you're like, yeah, I can merge it. I also feel like I don't know if I want the shape and healed to be so thick towards the bottom so I can just bring this in, pulling out other sections. Again, it's very forgiving and we're going to be adding more strands as well. That'll kinda make things look a little nicer. So let's check that out. Marty law Hafner, I like that a lot. So it's, you know, it's kinda made things a little bit more wobbly. So if you're feeling like, I don't know about that, like some of our depth and stuff is moved around for me. I'm actually okay with that. It's kind of looking like the left one that I really like. But I'm just gonna make a new layer and start playing with strands on this. So for this section, I can kinda Color Picker midtone and go to one of my extreme brushes. Doesn't matter which one really. And zoomed out. I can just kinda start creating some. Some strands. I'm gonna be doing some erasing with this, but I'm kinda just pushing these strands around the outside of the hair, working in towards the center. And you can see I like to get a little hand. Know me. You'd take it any of my classes, you know me like to get a little while with the hair. And you like color amount too concerned about it. And it's a little off for some of these sections, but the goal is just create your strands and make things look a little less than perfect. Unless, yeah, again, if you have asleep character, you might not want to do any of these stages. They might just be a little too much for you with the lack of cation and all this. And take my brush and then just start a racing through the parts that are a little toothpick. Again, lot of mere own tastes and preferences. And then, you know, if you really want to do a highlight color, you can go in here and bring through some brighter little pieces of highlights here in there. This is where it gets fun because you can really kind of start detailing things out. Again, I like to work, so I like the big picture with a lot of this because I've close things can just kinda tricky I, but so this is really subtle. This is if you want to have more colored dimension. And then for me, I do notice that, you know, she asked parts of records that are very dark at the scalp. So I am going to add another layer of overlay while in polishing things off. And I think I'm just going to do a nice little soft brush1 here. And we've proved that middle section and we're gonna get a lot of our depth that we'd lost. I'm just being really careful. I mean, really going whether Harris pinching, some of that was a little mushed with my lithification. But you can see it's already kind of popping out at you a little more now. And moving in to bring it up through here quick, That is for that depth. Will them both done, done, done, right. Okay. Then also put it through the hair itself. And what those little gaps in strands try putting it through seamless you got and that it's that, it's that simple and easy. I'm just going to go ahead and merge these ups. I'm going to merge my hair layers. Once everything is merged like this, I think there's a little too much saturation on mind, so yeah, so I can, I can literally take down my saturation as a whole. I can shift things a bit. So it's a nice thing is even if you do suffer a little wonky or something, even if it's a little too bright, I can just go in and tone it down a bit. Let me I want my mood is striking here. So this isn't bad at all for me. And I just want to show it in my my polishing parts here as I'm going to maybe do a little bit, let's mess up the contrast, just a touch and the exposure. Okay, let's see what we get here. Yeah, that is really a really subtle change, but that's kinda what I'm grading. So furthest next part, I want to cut to show how this hair can be finished a bit. I'm just going to take a minute. You could skip this part if you're like, I have no interests and I will see you on my final thoughts. But for anyone who wants to stick around, feel free. We're just going to do some simple little blending things here where I'm just I'm literally just taking a darker color, flowing out some of this hair color, picking a mid tone, bringing it through. Doing a little bit of my shape and flow with this color, picking her lighter color as well. When I'm thinking about the color environment as final steps, I'm going to be bringing this towards the outside of that gray to show that the light is hitting this section. Just to bring a little more of that environmental coloring in. Let's just gonna help blended too. If you're, if you have to consider, if you're doing backgrounds and you're considering your lighting environment on the character. And then end towards the end, can really help add not Polish. And they could just take away a little bit. It's a little too much. Just like that. Alright, we've pretty much got our hair done. So now I just want to get back to you and a few final thoughts. 8. Final Thoughts : You've just learned how to make a breed that's rendered quickly in just a few simple strokes with your base, your bread, your grade references, everything like that. You know how to make it a little more wild if you want to create something tighter and more sleek. So now what I would love from you is to show off your results. We'd love you in the project section to go ahead and show some before, some afters. Try some variations, see what you can get out a different shapes. Try some wound up and up. Do's do some kind of flow down off the back if you want. And also don't forget if you have any questions for me. You can post those questions in the discussion section where I am happy to answer them in give you any help that I possibly clan regarding my classes or my brushes, anything like that. So I hope you have a great day. I'm looking for your projects and I'll catch you in the next class.