Hair Painting for Beginners: Illustrating Hair Shape and Flow | KD Ritchie | Skillshare

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Hair Painting for Beginners: Illustrating Hair Shape and Flow

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 (45m)
    • 1. Introduction

    • 2. Good References and Why

    • 3. Breaking Down Shapes

    • 4. Ribbons and Cheese

    • 5. Adding Your Base

    • 6. Stranding It Out

    • 7. Adding Highlights, Color, and Final Touch

    • 8. Final Thoughts

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About This Class

If you have wanted hair that enhances your character but struggle to get the concept to click, my class is a good fit for you! 

What you’ll learn in this class: 

  • How references can help - and hinder
  • What to focus on in your shape base
  • Adding dramatic shapes and flow
  • Pushing the limits - and breaking them

You’ll make shaped and flowing hair that is easier to master for your photomanipulation or original character design!


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My Brushes: Free Hair Tutorial and Brushes

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. Introduction: One hair doesn't move, it appears lifeless. Creating that breath and strokes is by understanding the ideas behind shaping flow. And since I put down a shape, no matter what I'm doing for making hair, making it the best possible. Shape and flow is annihilated detail, but easy once you get the thought process going. A I'm Katie input cover designer on story rappers where I create artwork for clients and now teach students to knowing which shape to create allows you to enhance the gesture and personality of the character you're portraying without any more effort since we have to put the hair down no matter what you have wanted hair that works to enhance their character. Kind of struggle getting the concept of click, my class is a great fit for you. You're going to learn how to master this Harris shaping and make it perfect for either your photo manipulated characters or original character Zion, let's get started. 2. Good References and Why: Starting off, we're gonna be looking at good and bad references. So before we just jump right into references, if you have a character created a character in mind, it's kind of good to get feel for what's going to work because everybody's different. I created this character. She's kinda based on Persephony from mythology and thought I'm gonna make this a little more difficult, especially for this class. And put some branches kinda coming up and around, which means I'm looking at references. I need to make sure that I'm finding the right references to work around and with this, because if I have references that aren't kind of doing the right shaping around the head with the flow, they might not be as useful for me. So when you're thinking about references, unless you're starting from total Scratch and you plan your character differently. You know, for me, I, I, I make the hair work around the general character, not the other way around. But either way, you want to make sure your references are going to be ideal for your character creation. So when I'm looking at this, I'm thinking in my head, ok, I needed something maybe with a little bit of an upsweep into the hair. I need something with a lot of lateral horizontal movement going out and probably something a little backwards flowing. So I'm kidding. Lot of things in mind and I have it in my head, but I want to go ahead and show you what that might look like. So we're gonna go ahead and head over to the interests, of course, as always, and let's look up hair terms. So for some hair terms, for your references, think about things like the word wind. So I'm gonna type in hair, wind, female. And let's see what we can go ahead and get. Some were finding some kinda cool references here. And unlike the previous glass, my, my very first class, The illustrating straight hair, we are all about that shape and that movement and making things extreme in crazy. So right away, some things I'm seeing that I like are, you know, this is really pretty, I like kind of this wavy pattern to things. Also this one. So I'm going to open up this one. And you know, this one's pretty cool to you can be a little bit loose as far as you know, if you really want to stick to a certain hair texture, it can be good to decide that a little bit first, but things I want to avoid are going to be things like this kind of the opposite as what I said. And when you're just starting out with thinking about straighter hair, something more simple, which is something closer to the head and a little more put together. We are going opposite. Think wild, wild, wild. And when you're looking at references, think of things with a lot of body, a lot of movement. So I'm just kind of looking through things. This is another very cool and I see a theme here of this kind of wavy or shape to the hair, but I actually might be making it straighter than even these references. What we're looking for are things that are going to have a lot of gaps and a lot of distance from the head. So if you notice everything, we're getting distance and marketing gaps in all of these. And what do you know? Cool enough. We're going to some really, really pretty extra, little bonus ones that are coming up that I really, really love. Now, one thing about mine is we have that kind of closer to the head situation up top. So when thinking about that, I'm looking through these, but we're probably going to need a different kind of keyword for that. But with a little luck, maybe we will have something a little closer to the head. I'm seeing this one for instance. And she's kind of got this rollback curl on top of her head. That could be a little bit of good and spoke. But another term is we'll do something like a grade female hair. And let's see what we can kind of get here. Now we're going to obviously get things that are a little bit longer. I need to put the word up due here. And okay, here we go, here we go. So AP2 is gonna give you much closer terms to follow. I really like this kind of braided Look, I don't want to get into too much actual braiding. Get not on this shape and flow. I think that that can be a whole, another topic in class, but kind of getting inspired by how does the hair hug next to things? This is a pretty example with a little bit of grading, but I can kind of sneak it in, in a way where I'm going to show you things. So I think this is a good challenge point where, you know, if you can't quite find the perfect reference, none of these are perfect or not exactly what we're going to create. I want this class to be more about the thought process behind things. So I think this is a good blend of showing how I might people do that. It'll make more sense when we hop into it. So let's go ahead and move on to the next section. 3. Breaking Down Shapes: All right, next we're going to be looking at breaking down the shapes. And what I mean by breaking down the shapes is checking out the references and kind of dissecting them a little bit. So let's go ahead and start doing that. I'm going to create a new layer. And with my brush going to not beyond such brush. You know, you can be on any kind of brush for this. Just do a basic car ground, nothing fancy, OK, and full opacity shirt. So I'm going to choose a color. Let's go a cyan, something really bright against all this thread. I have a red thing going. But let's go ahead and look at these shapes. So what I mean is just in the beginning, you might want to consider doing this before you begin. Where we look at the shapes and we see what is this hair actually doing. We're following this strands for breaking down these shapes and seeing what the actual shape is, because the shape is not this. That's the overall shape before we wrap it up and put something on the outside. Sure. That's not what we're going for. We're looking for a little bit of the intricacy of the hair. And this little exercise can just help train a little bit on what hair shape and flow is doing. So what I would like you to do with her references is fertile awhile until this may be clicks a little better, is just kinda go through, hate the shape and flow of the hair. And even for someone that's a little more experience or comfortable with us, it's not about exercise to just try every once in awhile to kind of remember what hair is doing. So you can see it's got this directional flow. But also are we noticing that it has a lot of these gaps inside? Now, what references are for are not to be directly copying. Because if I were to go over here and you start trying to make hair that looked something like this. It's going to look crazy that this actual shake on ahead is gonna look like it's under water or something. It's not going to be quite right. But what we're doing by moving around and breaking them, the shape is making our mind go. Okay? Pair has flow. This is how hair moves realistically when applied into some wind. This is what the Harris doing as it flows a little more gently. This is what the Harris doing when it has a bit of a up to this is the shape it's creating. So as you can see when we're looking at hair shape and flow, it's not something plastered to the head. You're never getting a shape like this. If we're working on flow, we don't want this. Now, something with straight hair, which I've covered is going to have a little more of a shaping length this. But at the basis of one-year craning your hair, you wanna think air and movement. So just break down your references. Try to kind of understand what they're doing and why little a bit with what's happening in here. In this case, it's lot of, lot of wind, some fans. So that when you move forward, they're kind of warmed up to the idea. So breakdown your references, and then let's go ahead and move on. 4. Ribbons and Cheese: In this section we're gonna be covering something called ribbons. And she's And since we just broke down the shapes of the hair, what that looks like, wind and how it's really not stuck together as one bulky shape where Vinson she's, is, where we're going to warm up our brush a little bit and start trying to understand what that means. So let's go ahead and we're gonna have our new layer here. And I'm just going to demonstrate this with not red hair because we've done a lot of that. I think we should do something a little more fun and go with something kind of pale, maybe one of these kind of pinky kind of Hughes to it. And so starting from a top, ribbons and cheeks. So what that means is when we look at the hair, we have low and we have shape, okay? To create flow and shape. I want you to think of hair. A little bit like ribbons. Ribbons that twists around the kind of things that are wrapped up in your birthday presents. A little shiny pieces that might be on the belt of address, these little beautiful ribbons. Because here really, when you break it down, Acts quite a bit like a twisting ribbon. And when I say cheese, I don't mean chatter, I mean swiss, which is holes, the hair household and we just broke down and notice that our hair does have holes. If we look at over here, remember when we were breaking things down, everything has these these big holes to them inside of the hair. And as we move around, we can see that there's these gaps and ribbons, ribbons and she's so on our hair. What we're doing is we're thinking about that idea of ribbons and shoes. So when we're, when we're kind of warming things up, we're not quite making a base yet, but we're playing with it. We want to avoid things that are too much of this, right? We want to avoid things too stuck together. We want to kind of start thinking about and practicing a little warm up going. Okay, okay. Well, if I'm if I'm making this, how do I move things around? And of course, at the crown of the head, at where our base, quote unquote will end up being, you're going to have things more Tuck together, right? The crown of the head is not gonna be as wild and free unless you're starting to defy gravity completely. We might do a little bit of that but nothing, nothing too extreme. So when we're moving around our brush, I want you to think about the idea of urban scene. She's creating the gaps, creating the flow, creating the link. And as you do things, just keep in mind, am I creating too much holes? Is this too holy? Fill it in a little bit. Okay, so when I'm working on that base, I'm not going to be explaining exactly the methodology, the methodology kind of behind it because that's what we're covering right now. This is my thought process as I am building the hair and looking at things. And if you've already looked at that illustrating straight hair course where you understand a little bit about how we move objects around one another as far as the hair grows, we move this shape over here and not over here because of things getting in the way. You're, we're keeping all of this in mind as we look at something like this character. So the whole time when you're making hair, if things feel bulky, if they start feeling a little odd, just remember, I need to keep things flowing a little bit like a ribbon and I need to carry gaps, lie a little bit like 2's. Okay, so we're next going to start getting to that base layer. So let's get that going. 5. Adding Your Base: All right, it's time to add the base. So what I've done is I have locked the position as Mayan layer with this icon here. I forgot to the elapsed time. So now things hopefully won't be jumping around as much, but let's go ahead and we're going to start fresh. Now this section is going to take a little bit more time. So just prepare for that. Hopefully not going to be too long, but I want to make sure that I do things in real time. I find that it helps, especially while I'm thinking for my thought process a little bit. So we're gonna start with the shaping. I'm gonna zoom in just a touch here. And I've kinda got my references in my head. I can kind of see them a little bit up here in my navigation. And I'm going to kind of peek at this one on the left a little bit as I move through things. Because I might actually end up giving her maybe some cute little fringing things for fun, kind of like that. So at first I like to start with the head and just I just want it to look a little bit more natural because it's kind of odd cut of bald and then some hair. The hair is from the faces stock, it's a photograph. So to model obviously have some here. And we are just kind of covering this, working through, hiding some of it just to give us a vase, nothing too exciting it. But it isn't based on the list. And I'm just gonna go ahead and keep a little bit of her roots there. They look nice. Color picking as I go and moving through this slightly darker color onto the head. Heads at an angle. So it's going to be pointed a little bit differently than if we were not seeing the back of her head. So I'm moving through the darker color and roots. And already we're seeing it looks like She's got a little short kinda haircut. And I'm not going to get too hung up exactly on making anything, you know, to perfect or anything like that. I tend to kind of like what color pick different things could a darker tone. And I'll pull from shadows on the character to pull from the group colors. You can always get your color. We'll open it's whatever works for you. But I'm just kind of liking this vibe a little bit because I do like to save time and work my color through the hair as I build it. So I kinda like to have my my darkest tones sometimes, my mids, my lights. That way I can kinda color pick as I go. Lighter color. I'll just pick from her skin highlight here. Like just a little bit having still just on one layer. And I'll probably be switching to another layer very soon here. So there we go. Now I, now I can kind of color pick for this. And I'm not going to find an issue with meeting something lighter or darker. Kinda got it all going on here. I might just add a little bit. Tycho richness. And it's always come later on. Just a little, a little, a little bit there in case I want it. So now I'm gonna create a new layer. I'm gonna lock it in place. And now we're going to get down to shaping our base. So we kind of have things put together here a little bit. I'm just going to color, pick something very mid tones, you know, not too dark, not too light. It's just that kind of dusty rose. Q I wanna go for and already we know. Okay. Well, this is a no fly zone, right? These branches, those are the kind of things, the smaller strands of hair going and they're caught up in. But for now, we want to create those bigger shapes. So I'm going to move through and start that revenue. So this is not different member when we were doing our strain here, where we're doing shapes like this, little shape like this. It's not so different. But because we're creating a little bit of Wave and I'm not going to, to curly and wavy, right? I'm not going as tight of a curl is this. But I'm creating a bit of a wave and making things of extremes and kind of flowing with them and just seeing how it feels. Because this is just the base layer, it doesn't have to be perfect. But I want to start even at the base, start creating those gaps. I can always fill them in later. That's nice thing. It's much easier to go back and fill in a gap, then it is to create them. And I will sometimes go back and create gaps that things get too heavy. But start light handed trying to be a little light with it. And our base, if you're working on a lot of flow, is going to be a little bit more gentle. So I'm thinking about the hair flowing this direction. You can see I have these leaves kinda flowing at this downward direction. So for my base, I'm going to be kind of choosing that look and some of this is going to come down to taste. I'm choosing something that might be a little more asymmetrical, a little bit less standard, but I wanna go a little more extreme just so that you can reference this. Go back and go. Yes. Okay. And if I could apply this to something more extreme, you'll be able to use it on almost anything. So on this section you see how I'm just making sure I have that little ribbon need that little twist, that prettiness there, and then gaps. Now, depending on your hair style, I might get into things that are much more stylized. I attend to, again, paint that's kind of it's not quite realism because as we can see, this isn't quite what pair is doing, right? This isn't white reality, but it's not quite as extreme as some types of hair can be where there's very defined sections, something like this. But I think even if you'd like a more a more defined section, you're still gonna do just fine with something like this where, you know, you, you probably wouldn't want to go any quote-unquote, thinner than I tend to go sometimes you might. But if you're working with something a little more standard that isn't super stylized. You'll probably find yourself somewhere in this room with things. So now I'm kind of on this side going, okay, you know, there's a lot of gat back here. We're not going to, I personally don't like to paint right on top on this same layer. I'm going to create a layer below my character and work without back face to recreate that. I'm just going to go back here and start that shaping Again. I do live a little gaps, but at the base of the neck the hare is going to be thicker. So you're going to have less of that gasping generally back there. Just so it doesn't look like she's missing sections of hair. And again, I'm rebelling and shaping. I'm leaving gaps and shaping. And your hair is going to end up looking like you. It's going to be your own thing. This comes down to the way we all approach our hair. But as far as we are, we render things. But if we're thinking about that shape, just keep the gaps in mind. Keep the gaps and might see gap, gap, gap. Kept up DAP Dakota. We're just doing gaps and the entire time. And again, this is my base layer. I'm being very airy with this base layer reality and God knows surrounding it. Oh no, we are just making our base. But I've been leaning towards more and more and making my base a little more area. Unless of course I'm doing something like where it's straight hair, it's closer to her body. And that case, I might go ahead and make things a bit more together. But in general, I like my hair to be a little more dramatic. Now on this side with this back area, I'm gonna kinda take some of it away. And also I'm gonna darken it up a little bit because it is going to be a little bit darker. Near the base of the skull, the hairs bunched more and gathered more. So I'm just adding a little bit of that darker color and and, you know, lighter hair is a little more difficult to render. So I'm doing something a little extra challenging. And yours might come out differently depending on your hair color because lighter hair shows more, right? Darker hair, it's going to conceal more and there's just don't as much light to be revealing different parts. But already, this little shaping process is turning out pretty well. I'm, I'm pretty happy with what I'm seeing. I'm liking the base. This gap is a little big for me personally. It's pretty, but I'm just going to add in a little bit back here to cre that gap, that shape, that flow. Oh, good. I'm back there. I mean, a lot Bad layer down. So again, just working through it. I think that says a little too much of a cat. They expire hanging in here on this part. I know it can get a little tedious and a little long on, on sections like this. But I'd rather not speed through things if at all possible. Because I personally like to see things in real time if I want. And you could always, you know, skim through this on a rewatch, of course, to get through things a little bit faster. This is a nice base I'm pretty happy with. Let's zoom out. Okay. This side of her head on zooming out feels a little absent. So I'm just going to fill that in a touch over here. And I know that we're going to add more strands, so I'm not too worried about the rest of it. The other element is that on top here. On this layer, I think you've got a little bit heavy personally. So I'm going to actually remove a little bit of it to create a little more asymmetry. This section here kind of makes me feel like I need to just do more of a strand there so I remove that. I've really liked this. So this is how we create our base. We think about our shapes, we think are better ribbons, we think about our gaps. We think about movement and practice. This, this is going to be the hardest part, is getting that hand to want to create those gaps and movement and trust that it's going to fill in and work out and not cling so type to things around the body. So once you kinda are comfortable with this, we're gonna move on and keep refining this hair. 6. Stranding It Out: All right, next we're going to be straightening it out and adding some of our last flowing details that make a big impact. So first, I'm just doing this as a little bit of a bonus. We're going to kind of look at this kind of loose tucked rayed crown idea around the head. And I'm gonna be adding in a little bit over here. This isn't something that might be required, but if you're facing something like this, something to think about is, can this add a little bit more towards the hair? Can we add a little more gesture? Can add a little more character. For the sake of this character, I think of rate feels a little more romantic, a little bit more. You know, in that mythology realm. While a more historical, perhaps harkening back to an older time. So I'm just kind of loosely adding this little detail and I'm not going to be doing anything too fancy with it because I want to make sure that the class doesn't go too long on things. But basically, when you think about even things that are a little tighter and closer to the head and you want to go, Okay, well, I even make this have some flow and gesture. And it's, it is creating this kind of a shape. And when you add little pieces that can kind of fly off with it, and you're getting that even more. So I'm gonna zoom in a bit here. And I'm going to be adding some pieces that go above, some pieces that go below. Just creating a little bit more of that feeling of depth and a little bit of gesture. So even if you have something that let's say, you know, you're, you're needing things to be tighter. Thinking about what, what can you do? Add little fly away. And so if you need to try to think of the placement, I tend to like things to be a little bit looser in general and not too constrained. I just find that it ends up reading a little bit better and has a little bit more of an interpretation to it. Let's parts not particularly all that exciting, but it is good. Take your time until you get the right kind of read on it. In backing out. And for me, I can tell that this isn't quiet reading. And I think it's kind of important to also show those moments to land. Why is that? Well. These pieces are just a little too lacking that depth and, and that'll get better because we're gonna be reaching things and making them have a little bit more depth. But I'm kind of working through it and going OK, well what, what isn't quite working about this? And I'm sitting here and I'm trying to go, Okay, let me add a little more of this here, a little more of that. Let me try a little bit of highlight up here. Let me think about the form and shape of how it's moving. Her brain kind of has this crossing over section. And again, I don't want to try to use my reference exactly. I could. And I want something a little bit different, a little more loose almost as us, as if it's kind of falling apart a little bit. And these little highlight that, that we can kind of fly off of this series. That's just, that's just automatically adding that bit of gesture. I'm taking that lighter color when it's just adding that movement and also creating pieces that are going somewhere point. I'm not going that way. That also is going to help create some of that. And I, when I back out on that, I'm happy with that. And kinda like that. If you want to follow something really, really close, of course, please do. It can be really pretty, but for the sake of time and just wanting to try something a little different, I'm, I'm just gonna kinda go with that. So let's add some more pieces and highlights. Again with the brush can be on the same, but because I kinda like this bass, I think we've got enough. I'm gonna go ahead and switch to the filling my soft strand Brush. Test my flow out. I like that. And I'm creating off shooting pieces from our main strands, also creating little sections where I go between the gap's width, this strand Brush. And what that's doing along with the crown of the head is I'm just making these little interruptions that hair has you can see on any hair, no matter what kind of restaurant to have, you see an incredible amount of interruptions weaving between the main gaps. There's never going to be some big section where you don't have anything at all. You're creating little pieces that stick out, go up, go down. That's what creates that movement. And then go back into my little area without strand Brush. Go back through little bits here and there. We've some of this through the head of the parent, just, just for some blending and great. And again, color pick a highlight. I'm going off of these pieces there. We already have our base, your basis, the hard work is honestly done. This is just the fun stuff. Because you have your base to follow. Where do things go up on your ribbon? Your highlights, where things go down, then be darker and go up to your highlights. Same thing with down here. I'm gonna increase my brush size. But think about where the hair, the hair is saying what the shape is. Same as the shapes saying I'm going up, it's going up, it's going to get the light. It's going down, faded away. It's going to be less for, right? So you can see this is just kind of a stranding flowing here shape towards the back and a round out the head with more of these strands just kind of crisscrossing back and forth, adding those strands. And we need her to have that Scout continuing seminary, highlight pick. And I'm going to run the color back for him, giving her a little bit of that division. And if it got a little too intense towards the front to smudge it out. And it will read better. Going back to my highlight brush, to keep highlighting these different sections. Keeping it thin, keep it light, increasing your brush size as you move. You can also get a little creative, create different little kinds of shapes. Again, this depends on the kind of style of hair you're going to do. That. I think that you'll find just what we talked about really does work. Really does work when it, because you can apply it to pretty much everything. So I'm weaving the strands and then kind of considering this as kind of a top plane of hair. So unweaving and a lot more light on the top here. Ok. With this gesture. And something else to think about is below this. I have this area here which feels a little bit like a gap. So I'm gonna go ahead and color pick slightly later colored of say, hey, this is willing for that, I'm going to start filling that in, in kind of tangling and release branches. Idea of these was they're gonna get in snarled and snarled tangles. I'd like to make up words. Ensnared, I think isn't what I'm thinking of. On here. Again, 90, the character for suffering. She gets kinda caught up, tangled into her own myth. Communities. And this is a little extra, this is extreme. But I'm just going a little overboard just to show some ideas and what could be done. Going back through the hair. Covering up some of those sections factor, adding little darkness in depth with some spring comes. And pretty quickly, we've put together here that has a lot of movement and flow right? Now on this top layer, I like to go back, kind of kick through a little bit of deletion and things. Even in this top section, I just want to play with the idea of removing a little bit from the crown, a little bit back here. Probably a little too much on them. You can take it back. Something like that. I'm gonna create another layer. And I'm gonna go in with a slightly harder brush, my harder fill strand brush. And I'm just going to try to, Now that I'm back out, I want to try to get a little bit of a breed on this kind of crossing braid. And there's, there's times where I, I'm still trying to figure out exactly what kinda look and feel I want what I want to do. Of course, I'm going to be much more comfortable with some of the more standard things I practice all the time. But on something like this, then I am going to be like, well, where do I wanna go with things? What, what do I want to do? Because I like to play and experiment a little bit. I kind of enlightening for having this little thing going. And that's probably what I was wanting, but it can take a minute while you are doing some of these strands and this brushwork trick kinda go. What are they wanting? It feels off what Exactly? And it's often going to be a little bit of gesture or, or maybe character that you are craving in missing just a bit. And this is a good time to play with that because your base layer is not going to be touched, it's safe, it's good to go, so it's okay to go back and try different things. So we've pretty much got ar, ar, ar strands and gestures dining here. I'm just adding a few more little random pieces that I think would be kind of cute and interesting. Towards the front here. Of course, let's zoom out and kinda take a luxury liking this. I think some of the colors could be a little bit richer, but we're going to get that solved here pretty soon. There's a few little things and of course, at the very end, we'll probably add, you know, are a little extra bits it highlight. But I do think that there is a little bit of a tone shifts that might be happening. Things are a little bit brighter than what i want somebody sections. So for instance, for this layer, it's really simple. I'm just going to saturate it. And let's see what we get kind of liking that. And let me dark Mencius approach. Might mean darshan. Yep. So right there, that adjustment really helped. And then I go to the top. Let's try to colorize a little bit here. Let's darken a little. And for me, that's pretty much a sweet spot at this point. I'll be doing some touch ups later on, but I really liked this. So with adding those strands, what we've done on this layer is gone from something like this to this with a little more character and I can always tweak and refine this, but my base layer state. Let's move on to the next part. We are almost done. 7. Adding Highlights, Color, and Final Touch: Final steps. I'm just going to be adding some richness, a little bit more into the hair or highlights and a few final strands. So let's go ahead and switch to overlay on a new top layer. And we're gonna go ahead and color pick something in this nice pinky region. I'm just gonna go with something that's on her flower lock the layers so we don't move and test this out. And I'm going to be adding kinda really pretty little pink hue to things. Just to give us a little more richness. This isn't so much about shaven flow, but I do want to refine the hair finish for you to see. I really loved being able to see things finished in real time and sharing any helpful thoughts behind things like that, along with just for me, I cannot see something and get a benefit out of it. I'll see the same first and do something over and over and over again. I can get something new about the way they're approaching something, how they tackle a problem they're trying to solve. So that's kinda my thought process with this, just going to remove some of that along the skull. So I've added this richness and next time what I'm going to do is go ahead and move on to highlights. Again. Taking her highlight skin color when going to feed cliff, meaning the previous layer and this one on the things. Now, when I actually click this, I did lose, I think a little bit right on that back layer. So I have a choice. I can redo it or I can click this one here, go back to that back layer, and just simply right-click that one there, problem is solved. So also if there's a little too much back here, I can get rid of it, but you know what, I think it's not too bad. I'm just going to remove just a touch of it, right? In this section here. And I am pretty happy with the way that works is turning out anything. I am going to be touching that off just a airway go OK. Top layer here, very, very tippy top. Soft light seems to be in the mood for lately. So for this, I'm going to fall along the shapes and highlights. So again, we've created this gesture and this flow. Let's go ahead and work along on highlights here. Now this hair, so kale, I might need something with a little more pizzazz, but let's just see. You can cycle through things again, this is gonna come down to your style. Looks good to you. That's what's going to end up mattering. I'm gonna go ahead and click. So it's going to go right to the hair. Let's see what it looks like on there. A little bit of CIA or linear. Now we're getting more much shine that classic real high shine, which is fine because the hairs lighter, we need a little bit at that I think because it kinda doling out on that light on light. So I'm pretty happy with the way that looks. And then for a final top layer, I'm actually gonna go ahead and go towards my strand Brush. Color pick. And make sure I'm on the right brush. And I'm going to go ahead. And let's, let's increase this brightness honest little more. And on top, I'm just going to start creating my little strands that I like to do. This is pretty much where we want to be and where things are gonna end up wrapping up for anything major. Because you already know that this little brush is just going in. It's filling in, gets added, little bonus strands. It's doing little fun things. I'll be taking some of it away. But pretty much you've been able to follow this law. I'm sure you have. I'm sure a little bit of practice at first it might feel weird, but I know that you can get this down and looking good. As far as is there a logic to kinda how I do this? You know, it's coming down to a lot of instinct not gonna lie. But again, you're working off of these big shapes. The smaller the strand, the more while they can be any or untethered without bounds. So I'm also going to mask off this group. Go into my brush, go on to soft brush, turned down my flow a bit because I tend to use just flow capacity a lot. And I'm gonna take away. This is going to add a little more softness to this gesture. Just going to experiment a little, taking away what I think might have gone a little too ham on some areas, bringing that focus back towards her. And there we have it. That is your shape and flow for hair. I have some final thoughts I'd like to share with you, but as far as a tutorial, if we have a wrap on it, so I really appreciate you sticking around and I want to just cover a couple more things. And I'll see you in a moment. 8. Final Thoughts: You now know how to get hair that is going to enhance your character and kind of have this whole flow and shape concept really, really click, you know, how to get references that help you and not hinder the process. How to focus on your shape-based getting that dramatic flow and shape no matter what the situation and really pushing the limits and also how to break them a little bit when it comes to things. So I really appreciate you taking the time to go through this class to test things out. I know it's gonna take some practice. I know it's going to be a little hard to wrap your mind around it, especially if you are a US to doing things just in a certain kind of way without some of that ribbon. And she's kind of approach that I like to use, but I know you can do it and I really want to see the projects you're gonna be posting in class. I want to see your before and afters, your progress, what you've discovered. So please do share them in the class project section. And if you have any questions, go ahead and reach out to me and the discussion area, I'd be happy to answer things, but thank you so much for taking this class. Now, go ahead and get that pen tool out, start doing your shape and flow. And I will see you soon.