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

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Hair Painting for Beginners: Illustrating Fantasy Hair

teacher avatar KD Ritchie, Book Designer at Story Wrappers

Watch this class and thousands more

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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

10 Lessons (59m)
    • 1. Introduction to Class

      1:18
    • 2. Why No Photo References of Hair

      2:37
    • 3. Base Layer Bones

      5:44
    • 4. Adding Baubles

      5:11
    • 5. Base Layer Meat Depth

      4:17
    • 6. Extra Layers and Strands

      9:37
    • 7. Low Depths with Overlay

      5:34
    • 8. Highlights, Darkening, and Final Strands

      12:08
    • 9. Color Pops and Shifting Tones

      12:03
    • 10. Outro to Class

      0:48
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Project

About This Class

If you want epic fantasy style hair but haven’t known how to go from basic to extra, this is the right class for you to take!

What you’ll learn in this class: 

  • Why you don’t want real hair references
  • Getting the base down with flair
  • Making things over the top - and still realistic 

You’ll make fantasy hair that is going to make your characters pop like never before, all with just one basic set of brushes and likely less than an hour of time! 

Music: https://www.bensound.com

Resources: 

Join my list for all the latest classes! https://www.subscribepage.com/students

My Brushes: Free Hair Tutorial and Brushes

Meet Your Teacher

Teacher Profile Image

KD Ritchie

Book Designer at Story Wrappers

Teacher

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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Transcripts

1. Introduction to Class: Imagine you make this amazing character only to tack on hair that is way too basic and you end up taking away from your design by matching and over to the top hair flow shave and rendering, you're gonna make a character standout with little more effort than a basic Style. Hey, I'm KD, a book cover designer on story rappers where I create artwork for clients and now teach students to being able to design straight hair was my foundational skill for creating hair. And while that's great, if you want bigger, bolder hair, it means knowing how to do a little bit of this fantasy style illustration. And it allows you to push your character design and always taper it back, but not limited to one kind of rendering style. Instead, you can actually push the limits of what you want to create. If you want to create like this over the top fantasy hairstyle, but you don't know how to go from basic to extra. This is the right class for you to take. You're going to learn why you don't really want real high references. Get your base down with some flair and making things over the top and steel realistic. If all of that sounds good, let's go ahead and get started on class. 2. Why No Photo References of Hair: Okay. First, so usually I go and have everybody go. Yeah, let's find good references of hair that's going to be lovely and wonderful and not further because you don't want references. Here. Let me show you why I typed in fantasy hair. And look what we get now these are cool. We've got head dresses, ornamentation, different designs, and they're great for some kind of inspiration. But all of this falls in line with more basic hair straight here. Things that aren't going to be over the top in real life, it looks over the top. It's wow. But for the sake of this class, we don't really want this. There's not this crazy amount of movement. There's not this wild shaping because it can't happen in reality. That's why we see this kind of hair in illustration, whether it's animation or realism type featured character design things. So what do we want to do? How on earth do we find references? Well, we don't look up fantasy. How are we type in something very different? And that word is of ribbons. Amazing. Ok, so we don't want this little bow thing. We're not here for any of that. What we want is pieces of ribbons that are flying in the air. So I'm looking through here, let me see, let me see. And they have this standard Ribbon so everyone probably can find this pretty easily. I'm not too angry about that, but I do want to see what we might come up with that can help a little bit easier. Okay, this one, this one. Do you see how this is curled and it's got highlights and low lights, this is gonna be a lot closer to what we actually want for our hair. So I'm going to save that one. Also. Look at this one. Now, this is a little more crinkled than I like, but it's in that same ballpark. And what do you know when you look under it and search more beautiful pieces of ribbon here, this grey went over here. It goes around, it shapes. So I find that hair is a lot more akin, akin to a ribbon than just basic This 12. So what I want you to do is find some references. We're just gonna be kinda keeping an eye on it as we shape. And let's go ahead and start what's next? 3. Base Layer Bones: Alright, hopefully you've already watched my illustrating straight hair and shape in flow. That's going to help you out a ton in this class. But I've got these references. The ribbon algorithm kind of led to these metal sculptures, these wood sculptors, all good things for understanding that kinda shape we're gonna go for. So with that created layer below the character, I'm just starting to experiment with what I want my base to be. We're not going with reality at all. We're pushing the limits of what ever be possible. And that is why it's better to look at things that have their own freestanding movement and just a lot more twists and turns then our hair, whatever B, no matter what we do, unless you're using a lot of hairspray and some actual buyer structuring. So far, I think the movement for me, it's gonna be kind of flowing with this shape here I like when it's kind of doing in the navigation, it, it's gonna kinda disappear off screen a little bit. And so when you're getting this base shaped down, you want to keep in mind, of course, the ribbons and cheese of, you know, we talked a lot about that and our gaps. Making sure that we have, you know, enough here where we're going to create depth and have layers. Something to think about is that this back based layer, you're always going to be adding on top. So when I, when I'm working on this, I have to not make things too dense or it's gonna get really done later on. And you can always take it off by masking and whatnot. That's not that big of a deal. But we wanna make sure that things are kind of flowing together in a similar direction. This piece here, it's a little too thick for me, so I'm just going to take it off a little bit here. I like some pieces to go different direction, but it's a little too much, I would say sticking with that base layer, you want to create a sense of direction. Little hair strands can be doing whatever. But for this main section, I, personally, I think it might be easier when you're starting off to just get things in a similar way. This is really, really fun. I'm liking this now we're gonna go extra on top. So I'm going to create up here, I'm going to switch to lock that layer. I wanted to curve up and around. So it's almost going from down here to do something fun. Maybe kinda come back up and make sure your Photoshop isn't acting like a crazy little thing. Mind does, that's fine. But, uh, let, let's see, that's kind of curving movement up here are going to kind of seemed kinda Lincoln that. And while we're doing this for is we're looking at this ribbon in going, it's wrapping around. I'm, I'm kinda eyeballing this and going, what is this doing? It's going to loop around. And we're going to create depth that really feeds into this later on. So the hare is coming up, it's looping back around. Okay. I am just trying to fill out civil shape here. Kinda messing with it. This is going to be where you're taking most of your time is making sure that base layer is kind of correct and doing what you want. Because again, it's your foundation right now that's doing something kind of lovely. I don't love that little notch there, but let's see. Ok. And the big thing is that the shapes kind of come in and out of one another. They're twisted up. So that's kinda the key I feel like with this base illustration is are their shapes coming in and out? Are they also twisting into one another? It's, it's more complicated. This is definitely, I think that beginner can still practice this, but it is a more complicated type of situation. Some of this you're not even going to be able to see because we're gonna be working on this top layer. You can of course, always change up the colors so you can see a little bit easier. And I will lighten it towards the end here so you can see exactly that kind of shape I'm trying to make. But let's so do some coverage here on her head. We're just going to end unmasking off this section because we want those helmet pieces to show through. I'll do some smaller fly away is that do this, that'll shaping here. I'm actually not loving that. I might just go ahead and add those probably later on. I'm just going to stick to a more simple base. Because I'm finding some of the shaping not quite what I'm wanting. Some of this looks a little complicated, but let's lighten up that top layer and I can show you what I mean by what's happening here. So my main lightning that up, do you see where that actually is and what's happening? So as way clip and we work on depth and whatnot, it's going to be more apparent now I am in a lightened up a little bit and saturate it. So it's, it's going to create that depth by having those two different sections. So I really like this kind of over-the-top fantasy hair flow we have. And next we're going to be creating a little bit more layering happening. Let's go ahead and move on to that. 4. Adding Baubles: All right, now before we get into adding that base meat layer, the depth of things, we're gonna go ahead and add some bubbles just to add things up a little bit. I've got this ornament here, and it's just Holiday ornament. Nothing too crazy. I've color alternative bit. And because it's good to kind of build the hair around something or just going to add a little something. Now, I'm gonna get into more character design and ideas another time. But for now, let's just add a little bubble up here. And I'm gonna create a layer actually under this bubble. And I'm gonna go ahead and locked layer down color, picking that top color here in the hair and I need to be on my hair brush. I'm still just on my basic blocking and shaping. I'm going to create some little strands and start thinking about what this might look like with a little bit of character in it. Now of course, this is a little side something, it's very optional. It's not necessary at all to make anything like this in your fantasy here. But you might think about things and go, what kinda things could this character half? In this case, this character feels like she might work with lightning or the element somehow. She's very extra. So I'm thinking, yep, she probably would have some kind of little bubble happening. So what I'm doing is I'm looking at navigation. I'm not crazy about the shape. I'm gonna go ahead and take these two layers and lock them and just add up play and move this around. Maybe do a flip and kinda get a feel for it. Let's see what I think here. Up a little bit. One is still show off the ear. Now I'd like part of this. I think that little tail part is not my favorite. So what I'm going to do is actually just remove that and part of your gesture in flow. And figuring out here is where do I want things to be and what do I want them to look like and how does this feel? And I like showing the parts where I do need to go back and change things because it shows you a little bit about my thought process. I still feel like this is a little too thick. And so I think for this with when I'm looking at the line way, I'm looking, I'm keeping my eye on on on the navigation. I'm going, you know, I actually do like it to be a little bit more demure. Let's say. It looks actually pretty cute when I'm just a simple little bowl tail on the end of this baba ornament. That actually really works for me really, really well. It's going to take back a little bit here. I think I'd like it really simple. I'm going to add a little bit more hair obviously up here on the top. And these will all be more easily seen once we add depth. So just bear with it a little bit. I'm adding a little bit of air in between these strands here. Going to keep the shape fairly simple for now. Probably going to alter it later. But this is the shape that I am working with. And it looks like, Did I make a layer? Let's see here. Okay. Of course I went ahead and I drew on the base layer, watch out for that. My photoshops a trickster, so it likes to switch my layers lot. And I actually kind of just like it this way. Another thing you can do, just transformed the Hare said you want a little bit of a different angle. There we go. So if your character, if you think about it, if they are maybe a, a necromancer, you could do bones. If they are vampire. You might think about if you're doing this really extra kind of hair, maybe some kind of jewels, something right in Ruby. So think about your character and story a little bit as you work through this and experiment a little bit with little touches. It doesn't have to be over the top. This is pretty simple and basic. It's nothing too crazy. And what I like about it is that it just adds that little extra touch into some fantasy here. What I'm doing now is I'm just going to shade that bottom on because we're gonna add a little bit of shadow onto that. Because I have two of them now. So we want to create some stacking and it's that simple. So what we're gonna do next is finally add some depth because we want to be able to bring in a little bit more differentiation between all these layers. So let's go ahead and move on to that. 5. Base Layer Meat Depth: Next we're going to be creating depth and making some meat on that base layer. So what I've done, I cleaned up a little hair cut out, masked off around that top section, added a little flair to the bubbles. So just little tiny things. And what we're gonna do is get into what we really want, which is more depth to read better. So on that bottom layer of hair that's below the character, I have created a clipped on new layer. I'm going to color select this Hare and I'm going to drag it down to be a little bit deeper. And right with a soft brush, we're already getting a read on creating some depth. Well, we want is that separation between these layers. And we're also going to be adding more hair at some point here. That fills in. So if it looks a little gapped right now, not too worried about that. I'm just going in with a soft brush. Thinking about this hair would create a lot of shadowing. And here there's a lot of hair. So going in and just sweeping through these sections, kinda color picking, I don't wanna get too dark and some of these upper areas where more than light would be hitting. But I do want to create that illusion here that there is some room between things. Now the rest of this is on the top layer, so I'm going to hop to that top layer of hair where right here that we made already clipped, already knew. And let's go ahead and do something similar. So I'm going through and creating some of that depth, color picking, dealing with my Photoshop of it here, as always, right? And going in. And just creating that depth where we would see a little bit more of a darkening. This little bubble strand is on a different section, so we'll get that in a moment. But remembering where my highlights and my low lights are going, fading into the background a bit on some of these back sections. Creating a little shadow where other parts might hide. Little less where they're going to curve around. Remember, you can always reference these ribbons or doing what the ribbons are doing, recreating that depth and flow just like they do. And the reason you want these on those separate layers, as you can see, is that it is going to allow you to do something like this and save a little bit of time. Also looking at where the highlights are falling onto the body and they are going to match on the face. So now that arrays are, can also be masked off should YouTube's just going to erase out the parts that I really don't want there. And add a little bit of highlight that way, ok. And symptom at the bubbles on that layer, I'm going to go ahead and color pick. As some lighting onto these bubbles sections. Hop back to my other layer, did the same thing a little bit back here, haven't even added in my scalp or anything like that yet. And already we can see we have depth that's been created. You can kinda play around with where you want to add certain pieces and where you wanna go extra little bit. You could also create another layer on top like I'm going to, to add for that section right there. And then I'm also just going to take away what is not needed. Okay? And there we have a depth added. The next section we're going to be stranding things out. So once you get your depth kinda solidified here, let's move on. 6. Extra Layers and Strands: All right, next we're going to be adding a little depth, a little strand, kinda get a things polished off a little bit. So what I did is I've made it a new layer above that base layer. I'm gonna go ahead and once again with my brush, just sticks of my base one brush. And until we get really thin and I'm just going to be color picking as I go back here, I want to create a little more fullness back here. This doesn't quite how hair lays. It's basically saying that the top of the head has all this hair and her back is almost shaved up to her crown of the neck or something like that. It's bizarre. So we're going to add some hair back here. So with that brush, I'm creating a little bit of depths and strands. I'm gonna go ahead and darkness a little bit more. So it's a little more easily seen and you can see right away, we're getting a little bit more depth and I'm bringing it around and following the shape of that flow. And you're going to see it's going to come behind that top layer, which is something good. We want that. And I'm going to weave in some lighter sections to show some separation. Gonna go the other side, doing the same thing. Let's zoom in just a touch here. Color picking for a little bit more depth. And over here, we're not clipped because what we're gonna do is I'm going to take a little bit of that lighter color and now I'm going to create a little thin strands section that's coming off of here and a little bit of a thicker strands section going off this way. Just want to get that shape just right. We'll be adding more of that onto a top layer. But basically you want to do are ribbons and cheese that I've talked about so many times before in another video. And you're going to weave back and forth. You can, if it's a little too much, take your soft brush, remove it from the top section area and went on our top layer yet. But we're going back in this top area and we're still creating a little bit more of that light. Back down here. You can see that if we, you know, we, we don't get on top here, but what we're doing as we can create a little bit more brightness and some little strands that are kind of feathering off. Again adding to that gesture and flow. This is very extra. It's not obviously in a kind of realism that we're going for. We're just going for something very full, very wild. We don't wanna get too thin at this stage. I do like to keep things a little bit thicker. This kinda style fantasy here, it doesn't tend to get too thick. And I'm going to leave this section to be a little darker back here. So there's kinda working through these different sections. Kind of seeing what looks right. You just, if you just remember your light, your dark and what you're stacking, it's gonna get you really far. You can, if something's a little two lightlike back here, you could just just darken it up. That's the nice thing you can always remove it to. But if you like a little bit of dimension in there, sometimes I'll just keep that. I think a kinda nice and within a practice, you're gonna be able to put this together and have it be easier. It's really not about replicating. What I am doing exactly. What we want is what can we do with the ideas behind this so that you can kinda take off and do it your way. And you might want things more realistic. You want them maybe more exaggerated. Totally depends on what you're, what you're going for. Now in this section back here, I want to bring it forward a little bit. It's a little too far back. So what do we do? Create another layer? Because I'm feeling, you know, I don't want to do everything on that one layer. And I'm going to actually just take this, I'm going to thin it out a little bit with my, my strands. But now this is implying that this is actually moving forward a little bit. And I'm gonna create some intersecting strands back here. Just for more shape and flow. This is very extra. You obviously do not need to go this wild with it. But should you want to, you know how? And you can always taper back, can do less, doesn't have to view this extreme, right? I'm also gonna do a little bit back here. Remember when we said we're gonna do a little, little fly away sections are going to create some of those little fly away is back there now. Just thinning it out. We're not doing anything to stranding, but I am back there. Just add just a touch because it's the right layer for it. And some of these kinda monotonous shapes over here. I'm just adding my little ribbons and she's creating more depth, doing a few more strand pieces. Then I'm gonna work back on top. We're going to be going above our bubble layer. So this is a very, very top layer and a lock into place. And I'm going to color, pick and work with a lighter color. Now because I want this a little brighter of numbering that brightness up. And once again, I think I need this a little bit brighter. I'm going to bring that value a little more. Here we go. So now I'm just starting to add again depth with those highlighted sections. This is an art polished highlight exactly. This is just some of the highlights of the hair as far as the value goes. So i'm just weaving through making some sections of hair a little, a little brighter by adding some more of that light. Thinning them out a little bit as I go. Implying that they're fraying off a bit from these big main sections. Same thing with down here. And up here in front, I'm gonna create a little bit more depth, something to little darker. And you find yourself wanting to dark and light things differently. Sometimes I do some exposure layers, which I may do in this will have to find out how I'm feeling. Sometimes I go through and do our overlay to make a little bit more of an overlay with the depth and richness. I'm just going by this area here and kind of stranding things over, covering them up. Adding a little bit more hair up top here. As far as some of the polishing up this I probably won't get into too much of that. There might be some little detailed things that I just kind of go through it because I think you have an understanding of how to polish off here at this point. If you, if you don't, this hopefully is showing you enough. But there might be some little things just to save time where I don't get into it like cleaning up that scalps section, things like that are here. I'm gonna create some hair that's gonna move in front of this armor piece. Adding a little movement, taking back what I don't need. And sometimes the lighting becomes a little bit unrealistic, but it's, it's fun because we just want that readability and depth to the hair. Also, this sections a little bulky demean. It's actually because the section underneath is a little bulky. So what do we do in that case? If we go back and go, yeah, you know, it's not quite working for me the way I wanted. Well, I'm just gonna go to my mass section here that's on top. Unlock it. Moved in my brush and I'm just gonna thin it out. So even sometimes when you want more depth that it can be better, just just take away. Just take away was not needed. And right there, we're getting a little bit more depth and readability because now we're getting a read from those top layers. So some of those bottom layers are looking pretty good this way. Same thing with back through here through the hair. Just taking away what I don't need. Adding depth through, taking away through light, through all these different options. Still on that same brush. And there we are. So now we've added light and depth. It's got the movement happening a little bit. And I think that laid or we're gonna do some highlights and those low lights to kind of bring even more richness. So let's go ahead and move on with the tutorial. 7. Low Depths with Overlay: Alright, next, we have highlights and loads. So I've gone ahead and a folder, a lot of that top layer hair, that bottom layer hair in some folder. So that makes it a little bit easier. What we're gonna do is we're gonna create a layer that we're gonna clip onto the top layer first, you can also do the bottom layer, doesn't really matter. So we're just going to be using a soft brush. And I'm going to put this on overlay, good old overlay for adding that depth and increase the size of it here. And I'm gonna start working through this hair. And you can see we're just automatically touching around. Getting a little bit more depth and read on these sections. Not too worried about the color and tone easily changed after we're done. But mostly creating little bits of depth in those gaps. Making sure it doesn't wander around. Should a lock your layers. And just working through and touching in those sections, it's gonna add saturation showed you want it. And a little bit of depth there. So you can see the before and the after, we're gonna adapt now I like the color to be a little bit different. I want to try and go towards something a little more purple. Let's see what we got and let's unsaturated up it. Something in there. It's just got that little bit of a tinge tent and I'm guessing towards the end I might shift things a little more purple, just fail in that way. So I now want to look at my top, top layer, which is right here. And I'm gonna do the same process, clipping it this time. I'm gonna make sure I lock it, put this on my overlay mode, going through and adding that depth. It's gonna take a re, a lot of that hotness from the top layers. Lobbied up, blend a little bit better. But the others, It's kinda going through touching over certain areas. Sometimes I can't see exactly where all my little bits are, but not too worried about it honestly. It all ends up working out. Trying to get my layers cannot travel here. Okay. There we go. So we have things mocked and an in place, but that also kinda like to go through and just take away what I don't totally want named before I move on to that bottom layer, I'm gonna go through and does touch over the highlight areas. I might go change my mind a little bit. Some of the shaping too is I think a little bit too much on this top section. Unlock it. While I could do this in a different part of a video or not show it gets kind of important. Just so you understand, just by maim or moving a little bit of that thins it out. Do feel like that areas a little funny in here by her armpit. So going into that top layer and finding where we're at with it is that layer right there. So I'm just gonna go in there on my mask. We're just gonna take a little bit away and see what we get. And I like that because I'm going to add more strands here. And it's going to work just fine. So we have the depth there. Last layer we're going to add the depth is on that bottom layer, going to clip color picket overlay, you know, the song, a dance. By now. We're gonna go back here. And you can be a little generous back here. You can really deepen it up. Should you want to really wanna create lots and lots of that depth. This is how you do it. So I'm pretty happy with that. One thing I'm noticing as I feel like that's a little too desaturated up here on this top layer. So I'm gonna go ahead and saturate this a bit dark and it kinda find some happy medium between things. Also find this to be a little bit thick in this one section. So I'm gonna go ahead get my brush and just kinda remove and see what I get. Yes, I like that much more. And I while I like that, I think it's a better area for some thinner strands and I'm gonna do just a bit. So I'm just kinda look in things over, giving it a peek. I'm going to zoom in now. This is where we get a little more in on the details. So I'll be fixing up this head section a little bit and making it a little more perfect. And I am going to do some of that off camera. It'll just save a lot of time. So I'm going to polish up a little bit on some of these hair sections, and we're going to move on to the next one. 8. Highlights, Darkening, and Final Strands: Next up we've got highlights and those final strands. So I did clean up a little bit. I added a little bit of stranding up there just to get it going, but I'm gonna keep finishing it out. You kind of know how this is if you've taken some of my other classes and understand a little bit. But what we're doing is we're going through, we can kinda Color Picker, a lighter area here and I'm just on a very top layer. And I'm bringing through some light and adding things. And also let's go ahead and lock that layer because can get a little bit dicey. So it's locked. So this is the part where you're, you're gonna kinda want to actually zoom in just a little bit hairy thing and add some of these pieces. Now you can get a lot more stranding With this. Should you want to, that's completely your decision. But with this, I'm doing a little bit of an in-between where I'm going between something very strand NDI, very thin, crease my capacity a little bit and using a light touch and adding it through. You don't want to get to brandy as you go down or look like she's got of split ends or something. But we want some offshoot pieces, things that are going to say that the hair has a layered cut to it again because it adds more movement. So I'm going through adding these and what we're building up to, along with adding a little more depth and places that might be a little flat like this section, it's looking a little bit drab, uh, a bit with its, with its style. Again, this is a good little spot for an opportunity to kind of weave things back in around. So what we're wanting to do is creating these little highlights was strands, little extra pieces. And then being able to then go through and add some really fun, bright highlights. We already have our depth in there. But the highlights are what? It's going to really make things pop out a little bit. So I'm going through and working through the strand, creating little offshoots. Again, some of this is going to be like the way you like your shapes to be. Don't worry if it's not quite the same, even if you want it similar, you just practice and you're going to get there. So I'm going to add here and you could really, I mean, you could spend so much time on this going, just ham on it. You can you could spend hours if you wanted to. I'm not doing classes that are too long. I want to keep things a little bit more succinct and quick for people because if you understand the basis of what I'm doing, you can go in and really detailed things out more and more and more. But I'm showing you that you can get a read on this kinda style of hair fairly quickly. So I'm continuing to work things through trying to remember what things look like. Checking my navigator pretty frequently darting over there and getting the bigger picture, especially when you're zoomed in like this, it can get dangerous things can look really good. Zoomed m upon user mount on to Lowell. So it's not bad eyes there to just do it yourself. Just zoom on out overall and kind of liking it. Civil section up here. It's really bothersome to me. I think it's just a little too thick for my tastes. So what I'm gonna do is try to find that layer here. I think that's on, let's see. Some of that layer is kinda bothering me. I'm at a scale that back. And this can happen sometimes, sometimes there's always that funny little spot that I just go. Yeah, you know what, I am not crazy about it. And about this one. Now that's the bubble. And then I think this is our top layer here. Let's just see, you know, it might be this top layer bugging me. Well, what do we got going on here? I think it is I think it's too thick. I could go ahead and move to a soft brush, turned down the opacity on that. I just, let's just move it through. Let's see what I end up getting when I when I take some of that away. Okay. Not bad. I think what this actually needs is a little bit of strands Gandhi enough. Sometimes just more is more. I'm gonna go ahead and switch back to my brush. But you know what I'm gonna do on this? I think it's time for the actual strand brush. I'm gonna do the failing saw strand Brush hair number to increase this up, I'm gonna try a very bright, hot blue, okay. Very high here on the, on the brightness. And I'm gonna, I'm gonna see if that's what's kinda missing. Sometimes somethings nagging at you. And you can find out by just going through and sometimes it's taking away, but other times I might just need that it needs a little bit of stranding added. And I actually do think that that was it for me. So I can keep messing with that IF I want refer the steak, I'm pretty happy with that. Not too bad. Sometimes. It's just you need a little more depth, a little more dimension. So I'm just going through adding those little strands we're gonna get to highlights really soon. Feel free to fast forward this part of you. You're good on this section with all these little bits and a, but I do like to zoom out on this part just because sometimes it can get just, you know, just gets to be too much. I'm going to actually oh, and that was it for me. I actually wanted to bring that out. This shape I have going on right here. It's very a very thick kind of shape and it needs to be broken up. I don't want to get rid of it. But by breaking it up a little bit, it just brought me a little bit of joy there. So just going to keep flicking miss out on getting really crazy with the, with the air on this part. We're gonna take a little bit of this down in this section. We're gonna try to add a little depth. Let's see, this is my little authentic II section. Let's say what I think here. Yeah, I think I'm fairly into that. I still think it's a little bit thick. Isn't that funny? I've gone over it, but I just think that let's see here. Yeah, it's this layer. Ok, I think it's this layer now that I have that and it's okay to go back and forth and realized, you know, I just need a little broke. So when I go through and I'm actually taking this way with that strand Brush IN getting just what I like. Yes. Okay. Now, now I'm pretty happy with that. I'm just gonna take a little bit from the fiddled tail section down here. Said on that same layer, differ one. Let's see where we are. Not there. Yes, my layers can be a little bit all over the place are yours too. Okay, I'm going to look and see where where did I put that layer? Ok, I'm thinking, I'm thinking and that's our base layer here. Somewhere. There we go. Okay, I'm just gonna remove just a smidge just a little bit here yet. Okay, that's, I Am that picky sometimes, so I really like this. Now we're gonna do some highlighting. So on this part, I'm, I'm, I'm just gonna make a new layer. It's not clipped, nothing like that. I'm taking a Soft Brush. And for this, I've shown you guys already how to do the classic sort of highlighting. We're going to be a little extra. So with this in place, I'm going to kind of do this blooming really pretty sort of highlight. I'm gonna go over the sections where there's a lot of brightness that's going to happen and I just taking that highlight color. And I'm going where that hair curves around just like our ribbons. We're we're going to have highlights and then you can do your highlights. And so many different kinds of styles. I'm going to be changing the layer mode on this. So it's not going to stay exactly the same way. And I'm going to switch over to let's see, I usually do soft light. I don't know if it's quite big enough on this one. Let's look at a linear light and let's go ahead and turn it down. This isn't too bad. I've gotta D saturate. Let's see what we think here. I like it desaturated actually, it's just gonna be got nothing going on. But let me let me look just in case if I'm still that one makes me the happiest out of all of these choices. It's almost becomes super subtle. Let me try turning this up a bit. There's a kinda look in my head I want in sometimes you just have to play around a little bit until you get where you want it to be. Now in the my navigator, This is actually looking really good except for this little section up here. It's not reading quack the way I like, so I'm going to take some of that away. Actually think it's a little too hot around the face. I'm not going to even worry about the face area. I've already got highlighting it there. So this is just going to focus on the area down here. And I really like that. I like that a lot. So for me, I'm fairly happy with this. Now, the one extra little thing, if you're wanting this to have not so much of that over the top fantasy touch is you can just group everything together. We're putting all of this together. Let's say about a clipping mask. Okay? Now I'm gonna take my darkest color and I'm gonna start working it through. Working it through. This is what's going to create some of that extra depth and make your highlights actually pop a little bit more. So while it's not specifically a highlight, it's going to help them stand out a little bit more. Lock your layers and go through. Now I have this on just a normal mode right now. But I bet if we put this right on to r multiply, nice little effect there. I'm not upset about that. We can also mess with darkening. Okay. See, yeah, that's really pushing those highlights even more. And then if I go ahead and I dark in the color, once again, sometimes, you know, darkness is gonna reveal just as much as that highlighting because we're getting that contrast happening. And you could of course, take some of this away, add some of this. You can really play with what you're kinda going for here. Now I liked them multiply but don't settle. Let's see what we like. What else we could do. Overlay is very, very pretty. We're definitely being being able to see through the hair a little bit more. I actually think I might get with overlaid, very saturated right now, but if I just take that down, I mess with my light. That's what's actually having more of the impact. That actually it looks pretty cool to me, kind of into it. We're gonna take this brush and just remove the parts. And maybe that I don't want around the phase around certain little areas. Maybe add a little bit here. Should I want it takeaway at areas I don't want to get I'd have this clipped on the whole figure so it's gonna go all over the place. So should you not want to just take away what you don't really want to have happen around that face. I'm gonna really kinda make sure that's nice and clean. And there we have it. In the next section, I'm going to be focusing a little bit on how to shift this color. Had to do a little extra. And then we're going to be wrapping things up. 9. Color Pops and Shifting Tones: Alright, time for some last steps. This won't take too long. What I've done is just gotten rid of the references, sweep a clean palette here, kind of get an idea of what we're working with. And I'm just going to go to selective color. Now, this isn't going to necessarily work if your characters blue and your hair's blue. But I have not a lot of blue elsewhere going on. And this probably is gonna pick up as psi and blue combination. But what we're gonna do is we're gonna go to strike stallion first and see what we get. So that's effecting pretty much everything. This allows me to look at things and just do a quick change on the color. I'm gonna assume that blue territory. But I want to kinda look at my tone, kind of figure out what I wanna do. The other thing I'm gonna do is switch to color mode. I don't really want the luminosity necessarily affected by things. I'm going to push it towards those parent bowl a little bit more. On that yellow spectrum. Like I just like to toggle back and forth, kind of look and see. When I like, I like this, it calms, pushes it towards pastels. And then on these blacks, I can either pump it out more or tone it down a little bit. I'm just going to keep it somewhere in the middle there. For the whites, I might end up tinting them a little bit. Let's look at what we get if we tilt them towards cyan and actually blends a little better. So I'm going to blend them a little bit better towards that. With o. Now, this is affecting all of my whites, but maybe I'm not mad about it. Let's see what we get with this character. Push her towards magenta. Push it towards, I'm kind of liking a little bit more, kinda in the middle where I was. Now, you can of course always just masking and delete off all of this white. There's no worries there. So what if I toggle that back and forth so far? It's just kind of desaturated and blended it up a little bit more. If I go to my blues or getting that base back layer happening a little bit. And I liked this push towards those purples back there. I might really push them towards those purples at sea. Yeah, not bad, not bad. Let's mess with the yellow's a bit. Sometimes I changed my mind. I go back and forth. Just a gut instinct sort of thing. I think I like that change. She's brought it down a little bit more, a little more subtle. I think that works really nicely, really, really nicely. And the other thing I might do is look at this top layer of hair and see I might darken it a little bit. Just to touch, not method2 crazy. Method2 crazy. Just maybe colorize it a little and darken. And sometimes I bought, might not go for that in the end with color. Another option is we go really wild with it, which, you know, you could always saturate it and go a totally different kind of color spectrum, something like this. And do something a little crazy like this. What we could do is, So we've got this pink kind of tint in to the hair is I just D saturate that a little. It kind of see where I went to play with things. But I would go through your layers and just start experimenting a little bit and going to, I want my hair to be all this blue. Do I want to add some padding, so I want to add some purples. There's so many fun little options you can do with this. Just what the basic hue saturation. And for me I'm not too mad about kinda like it. It kind of blends a little bit nicer with that back here. It's a subtle change, but it's kind of a fun one. Now, if I really want to pump things up and go a little bit ham, all I have to do is add a level of hue and saturation, but I'm just focusing on just that saturation. So if you wanna go on, I'm not going to go this route for this one, not exactly my style to go to bold, but that's, that's an easy way with some masking to just instantly kinda turn things up a bit on that. Other things we could do is just go into our layer, grouping it. And I feel like there's a little bit of a fun thing we could do with certain sections, which is I just took this kinda pinky color. I'm just bringing this through, bringing this through. And I might do a little bit of color or hue to the hair. He was going to be a little more subtle. So kinda look through your layers and kinda go, where do I want things to be at? Saturation can be muffin sometimes it's kinda doing this really fun, bright, saying with its actually hue that's doing it. Now I'm intrigued by this. This is kinda pretty, let's see what I could do. I'm gonna go ahead and just open up my hue saturation with it. They just do control. You. Kinda move this slider around, kind of see what I'm in the mood for a bit. This is doing some really pretty color shifting. And there's no exactly right or wrong on us, right? It just depending on what you're in the mood for, what the character says, what colors you're using. I like this kind of purple range and here little bit of a pinky purple happening. I'm also going to take away some of it from places that don't really want or need. So around the face. So it's a little bit of an arm Bray effect. Okay. Now for me, thumbnail, I really like parts of this hair being brighter and then other times I'm like, gosh, it's just so bright. So two choices here. I think the easier one would be to just clip and, and just do a little bit of a darkening on this top area with the hair. So you can kind of just bring it down, tame it down a bit. But for me, it's not quite reading the way I want. I kind of like this highlight thing happening. So because I brought in this other color, I might actually go back and see about adding that little bit of depth back to it, that little subtlety and bring this down. It's not crazy, but it's subtle enough to where it's going to help it out a little bit. So I just shifted that to purple, its tone down. It's kind of the face framing area on that fringe. So how do we fix that? Well, like this, but I want that to be different, right? So I'm going to create a layer, clip it to this. And then I'm just going to take the, should we working. But to take this white and I'm gonna just go on this top area here around the face where I want it white. Just gonna go to hue. Color. Color is going to kinda give me something, just a touch gray. I think this actually has some color to it. Let's just remove. Let's actually go into a little bit more of a blue. Now that I think about it. There we go. Now that to me is just the right kind of blend happening to see, I mean, my name to be the blue shifted a little bit more. Just make sure we've got that right. Hugh happening with the blue. Maybe let's lighten it up a little bit. No. Quite right. Quite right. Let's come a little bit more. This one. That's kinda cute now that's a little grain. This is very, very subtle stuff that feels about right to me. I actually really like that. So I think that that's quite pretty if I want to add those little touches of white in, again, of course I can. But for me, I think that that's reading quite nice. There is part any missing some of that brightness. So a couple options. One is I simply just duplicate this layer, throw it on top. Is now above everything. I can do a Linear Dodge. And that's going to just brighten it up like crazy. I can then mask it off. And this is my approach to how I dabble and deal with color. I'm going to go ahead and fill that in and then just kinda add it back on it. Some of these little face framing parts, just because I have some of the white down here and I'm kinda missing it. So I don't want too much. I actually don't like it back in there. That in some of these older areas kinda think it's skewed. Hua. Okay? Really, really liking that. For me. This piece is pretty good, pretty complete. Really dig in it. Little things. Now that I've done this coloring, I might go back and go, you know, with, let's say I have this, this makeup layer on, It's on a very kind of rich red. I might then go in and alter it and make it a little bit more of a rich purple just to kind of match what we have going on with the hair. So just if you get inspired by something, don't be afraid to kinda dabble. Go back with this character you've created, mess with your layers a little bit now going to the nail layer, kinda trying to see what this might end up turning into and tinkering with it just a bit. I personally really like to do that. Because sometimes you can think, oh, it's going to go one way. And then you really start messing with it and you shift things. And it becomes something different than what you expect it. But it's fun becomes something really, really fun. So right now I'm just kinda messing with some of this, this coloring right now. And it's, c-hat is kind of blending together a little differently, funnily enough that there's obviously some coloring up here where I wouldn't really want it. And I really, really feel like this is a more cohesive piece and I think we're set, so I just have some final thoughts and we've got class on a wrap. 10. Outro to Class: You've just learned how to create epic fantasy style hair. You've gone from basic to extra. You now know why dont want real hair references. How to get the base town with flair, adding in a few little bubbles for fun, making things over the top and realistic. I really believe that this is going to give you so much freedom with your hair and gesture and your character designs. So I love to see a little bit of before and after some examples that you can post for me, also feel free to post anything you want in the discussion section. I am more than happy to answer any questions you have. I hope you have a great day and I look forward to the next class with you. Take care.