How to Draw Comic Style Hair - 3 Ways - Step by Step | Robert Marzullo | Skillshare

How to Draw Comic Style Hair - 3 Ways - Step by Step

Robert Marzullo, Online instructor of Figure Drawing and Comic Art

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3 Lessons (1h 5m)
    • 1. How to Draw Comic Style Hair 3 Ways Step by Step Part 1

    • 2. How to Draw Comic Style Hair 3 Ways Step by Step Part 2

    • 3. How to Draw Comic Style Hair 3 Ways Step by Step Part 3

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About This Class

In this class you will learn how to draw comic style hair in 3 different ways. Hair can be a very tricky topic for most art students. I struggled with this for many years and I want to teach you what I have learned to draw hair more easily from my imagination. 

We will go over what to look for when designing the hair style as well as how to shade it in a comic book style fashion. You will learn ways to simplify this process to save time and also get better results with your art.


I will walk you through each step when drawing hair designs for your characters. If you break down the drawing process like you see here, it becomes much easier to complete and will allow you to draw many more variations.


By the end of this class you will have a firm understanding of How to Draw Comic Book Style Hair the way that I do it for my illustrations every day!

Good luck with these lessons and thank you for watching!

Robert A. Marzullo

Ram Studios Comics


1. How to Draw Comic Style Hair 3 Ways Step by Step Part 1: Okay. Now I'm going to show you how to do some comic book style hair, and these are just some examples and we'll probably do something like, the end result here, but I'll draw another, at least one other, maybe two other hairstyles, so that it's not so specific to just this one, but I think there's a lot of good information here, I want to show you to get the ball rolling. A gentleman, we'll start off with the sketch of the face. I'll define the hairline like you see here, then I'll draw in the shape of the hair, and then I'll render it. That's really the three main steps that I take, or I don't even know if this first one is really a stop, and really there's a little bit more that goes into the definition stage of it. But then pass that once I've got a pretty good idea of the look of the hair that way, I'll go to the rendering. Now keep in mind this middle one here and if you're going to do a character with lighter hair, then that's pretty much almost done by itself. You can use line weight to establish the look of the hair. If you're going to do a darker hair, you do more render work like the one you see over here. Okay, so let's go ahead and get rid of these other two examples, and let's take this one example, and I'll show you how I worked through that. What I'll do is just so I get a basic some are [inaudible] , I'll actually keep this one off to the side. So just like that, and I just want to show you how I construct this. All right. So from this first sketch here, I would start again by, I've already got my defined hairline and I'll show you why use that. I'm going to go and softer races down just so it's not so, in our face kind of thing. Obviously our ears get covered to solve softer, it slows down, and then, the reason why I put the hairline in place it just gives me a starting point, and then I'm able to envision where the hair flows from that point. I picture that it comes up, it turns over on itself. A lot of times when you're drawing hair, you want to think like ribbons. So even this fold of hair that you see right here, I'm envisioning that is coming up and flipping over itself like a ribbon would, so maybe if you drew a ribbon, it would turn this way. But in this case we're going to have it flip over like this. You can even make the argument that it's a little bit more flat on the top like this, probably looks a little bit more natural, and it's just one of those devices to help you picture the way hair flips over, and folds back over itself. So again, we'll draw that kind of have a flat tapered area to the top, have it flip down and back, and then also you want to get in the habit of making it, curve even at the very end. Just little things like that. Even this part is too straight right there, you want to try to get, a little bit of waving this end of the hair. Depending on the hairstyle really, but almost all hairstyles got a bit of waviness too, spare where they're completely flat. We'll get in some basic lines. Now notice that I'm trying to space out the wines that I'm creating, that I'm not trying to draw every strand of hair, and that's really important to note, because if you get in the habit of drawing every strand to hair, it's going to look very stiff, basically very weird, but it's just not going to look soft and bellowing or flowing like hair should. So you want to like spaces lines, notice I'll put a couple lines together and succession, but I won't put them side by side like this, and for fear of just making a really bad drawing. What I do here is just space them out, at this point I'm actually, really feeling out the process. If I didn't have that one over to the right to look at, I would really be experimenting even a little bit more, I guess, but this one I've already drawn does give me a good guide to work from, and also keep in mind that, if you're not as comfortable drawing these from memory yet, these different hairstyles, by no means don't feel guilty to study photos and hairstyles that are out there, and then just stylize them, just give them your own [inaudible]. Don't feel guilty in any way. You're going to change it by the time you recreate it in your comic book fashion anyways, it's okay to study from those, and that's how you'll get the shapes in your mind, to be able to do it from memory. So I've drawn lots and lots of reference photos and depictions from photos, and like I said, you almost always change it anyways, it's never an exact copy, as long as you're not tracing it or some of them, but, even that's not bad if you've got a tight deadline, sounds bad, but it's really not. Okay. We get this shape and you see it's a little too flat around the perimeter, or a little too smooth. Things that you want to avoid when doing things like hair and just bodies in general, you definitely want to avoid too much symmetry, unless you're really trying to make a statement with symmetry, you want a lot of a symmetrical value, so I want to make sure that these two sides aren't even for one another. You can change it as easy as just putting a different strand or flip of hair in front of another area, that's pretty quick to do. You can do these loose strands that just fall off to the side and flow inside and around. There's lots of ways to do that but just remember that you want to have a very asymmetrical value to things like hair, even faces, but you can tell our faces are a lot more symmetrical. Okay. Now we're going to softer races down one more time, and I really use softer race to my advantage. What I feel a softer race is most important for is just really building up and sculpting the work. I would like to put in construction lines like you see there, and I'll sometimes put in more lines than needed, so that I can softer [inaudible] it back and just keep what I need. It's a very sculpting type process or build up of the work. I always think of it almost like under-painting. If you've ever done paint work, you'll do under-painting to get that nice feel of texture and effect to the work. I feel that way even when I'm sketching, just my interpretation of it. I'm looking over at that sketch to the right, and one of the things I like is this hair right there, that fine right there. So I'm going to go ahead and put that into this one, I think it adds a little bit more of an area of interest to that hairstyle, makes it look a little bit more believable, and notice I'm really skipping over bigger areas now to add these lines in, and I'm also adding a little bit more line weight than I previously did. I'm having a little bit more thickness to certain sides of the line to try to give a little bit more depth, and also skipping over a lot of those little lines that I placed them because again, they were just for construction of it, the buildup of it. Let's see, the thing I do is I start to draw on more and more of this, I make more and more final decisions and more definite, committed decisions to my lines and that's what you see me try to do there. Now with the part here, you want to try to always hide the part a little bit. You want to stay away from getting the part to look like a line down the middle and hair going to each side of it like this. Unless it's really just a hairstyle it looks like that and of course by all means but a lot of times the way it really looks is more like an overlapping, almost like fingers locking. It'll be a overlapping thing like this, with the part of the hair almost like a braid but not so even, like what you see here and hopefully over there. Just be aware that nothing will look worse than a definite line right down the middle of the head if that doesn't really match what you're going for. If that's not really the specific style of it. Now that we have that much information in place, we can really take this and start to render it out. What I'm going to do, I probably soft erase it one more time and clean it up even another level, but I'm just going to jump into rendering it, so that we can get on to the next hairstyle for you. Let me go ahead and make a copy and I'll work off that copy which is always a good idea and let's go ahead and render this. Now we're going to take it even further. I think I'll duplicate the line work just because it looks a little more vivid that way. We're going to take the work and clean it up and render it so it has a, if you notice this side has more line weight, which gives it a more impressive look and again, if she was going to be a blonde or something like that or like colored hair, this would almost be pretty much done with maybe just a little bit more rendering to some sheen of light or something. Let's go ahead and work on this one a little bit further. Then I'm going to soft erase this again because if you look to the one at the right, it does have a lot cleaner look. That's really what we're after. Even though I could probably cover a lot of it with the rendering but if you render too soon, over some bad line work, then you'll, chances are it will still show through or your rendering will come out a little bit less than desirable. Just I'm going to push this back pretty far with the soft erase and then clean it up and render all the same time. What I want the impression of, is that she has the darker hair like the other example. What I'll do first is I'll jump in here one more time with a line weight. Line weight, the best way to probably explain that is, you want to just have, I think the best way I've ever heard it explained was you just want movement in the line. If you think about the line going around the shapes, around the forms, you want some variants in line, you want some energy to line, there's a lot of other things that come into play like, where's the light source, where is the shadow on each piece and things like that. But some people ignore that altogether and actually just place the bolder line where it makes sense to make the form look like it's coming out towards camera. Some people use it more as a dynamic for perspective and other people use it more as a dynamic for light and shadow. Some people just simply make sure that as they're passing around the forms, it goes from thin to thick to thin to thick and so on and so forth. There's really lot of ways to interpret that. Use it how you will but I would say that the only singular rule that really exists that I'm aware of, is that it looks better if you use it. I almost never see an art style that doesn't have something more to offer if it's got a good use of line weight, especially in the idea of comic illustration and drawing where you don't have as much as say a painting to convey all these various things. You simply have dark and light. Line weights is a pretty important thing to employ in your work to help give that depth to your work. Again, it doesn't have to be an entire correctness as far as use of it. You can try any one of those things. If you're using the light and dark method, you're going to apply heavier lines on the shadow side and as it moves towards light, you're going to have the line get very thin and dissipate or become nonexistent or whatever. That's generally the way you use it for light and dark purposes. If it's something where it's coming out towards camera, then the closer the objects get towards camera, towards the viewer, prospectively, you're going to put a nice heavy line around it to showcase that and that works really well. I do that quite a bit. One last thing about line weight that I've used or I think I've noticed a lot of people using it as well this way, is you can actually just use it to direct the viewer. If it's something very integral and important in the shot, or just deserves more attention in the shot, you can use it just to direct the viewer by using a nice heavy line weight as well. Lots of ways to interpret that. I know what this is about, is a hair tutorial or less than or whatever. But I think it does apply, it applies to really a lot of things. I think it's worth talking about. Again, trying to get some of these lines in there and not trying to draw every hair as much as I'm trying to put some variants in the weight of the hair and the way that the hair comes together in certain areas. I'll do these little lines where there's two lines together. I might put a line right here and one right by it. That's just a way for me to kind of convey a little bit of depth to that shape. Keep in mind too, if you're trying to get smooth lines, I hear a lot of young artists struggle with that. Probably struggle with it myself to this day. Generally, the way that you're going to do that is one quick sweeping pass. If you do what's called throwing the line, you'll generally get a nicer, smoother line. Now you're going to lose a little bit of control, probably, excuse me, in the weight of the line. But it's still going to give you an overall smoother line generally and I have met artists that can, they do better with a nice slow poll. I say I get a little bit of jaggedness there but I think that most people are going to get a better smooth line by that quick poll like that. It just takes practice. It's just working with the mechanics of your hand and how you construct your work and being patient with it but it seems to be a pretty common problem for people. If you're going to talk about it. We've got some line weight in there and it probably could stand to use a bit more in some areas but I'm going to jump onto the rendering just so this video isn't to offer long. But that right there gives us our line weight. Now what we'll do is get rid of the other reference one to the right, we'll bring back the one with the shading and we'll use that as a bit of a guide there and we'll go back to this one. Let's get to shading this and see if we can bring it out like we did here with some darker value. Now we'll start adding in some of the shadow here, and you can notice over here that I did it pretty basic and pretty comic book style where it's pretty easy to interpret. What ends up happening here is sometimes when you simplify the work, and I'll show you what I mean as I talk about this, I'll do some of this. As I simplify the shadows here, what I'm basically doing is I'm trying to do a couple of things. I'm trying to round out the form. I'm trying to establish some highlight and shadow, obviously light and shadow. But I'm also trying to do it in a way that is very simplistic and expedited, and I'm just quick to do because what ends up happening, I could make this look a lot more realistic than what I'm doing here by the way that I'm shading in here. I would say that this type of shading, at least the way that I decided to do this, almost would make it look less realistic, more animated. Now that's okay because what ends up happening if you've ever tried to produce a book with your buddies, or I don't know where you're at in your professional career. Imagine if you're watching this, maybe you saw a little bit more on the amateur side, but who knows? But if you've ever done any projects for comics, or anything, narrative, any storytelling, you know that it becomes pretty difficult to push out a complete story. That's really what separates a lot of people from being able to produce comics into say they make comics or actually produce a comic. What ends up happening is you have to start thinking about ways like this where you can emulate an effect but in a timely manner, in a very quick, almost easy to consume and produce type manner, and that's not always easy to do, it sounds easy, it sounds the more you're simplifying the work that would be easier to do. But it's doing in a way where it still makes sense. It looks good, and it's not always the case. Sometimes we feel the need to overwork our process to compensate or make something look as good as we hope it would. Sometimes simplifying something is a real process of figuring out what will work, and what we can produce effectively and timely. That's really the purpose of this type of shading, where I basically do something a lot more simple than what I could accomplish, because I could sit here and make this hair look pretty realistic, I've done it before, but it's just so time consuming and it just wouldn't make sense for any type the deadline or anytime we type a comic work. When you see this type of stylization, it's because it suits a couple of needs in the production of the work. That's really what I'm after here, I want a pretty good look, I don't want to sacrifice too much quality in the sake of time, but at the end of the day, if the work can get done on time, then you're in real trouble. It's going to be pretty tough to keep that job if you can't produce the work. That's where effects like this are really helpful. You see I shade that side rather quickly, and I want to come over to here, keep in mind you can draw the shapes first and that's actually a little bit faster. It actually will give you a little bit cleaner look as well, because if you sketch the shapes, you seem to interpret it a little bit different. You can draw out these shapes pretty quickly. I usually leave little bits of highlights here and there in-between, and I'll fill that in or you can just throw in a little x's if you're handed it off to an anchor, but I'm not that lucky, I have to anchor my own work, which I really wouldn't need to fill it in. But for this sake, for showing you, I want to fill it in, show what it'll look like in it entirety. Then as we come over here, same thing, we'll just draw these in. I will try to draw on these little wavy shapes, and notice I don't just go like this, I could, but it looked too repetitive. What I do is I'll put in like a little wave and we'll bump there. It's a tiny little bit of separation for a highlight little bump there, so on and so forth. It's sometimes easy to fall on the pitfall of doing a repetitive pattern and something like this. I try to fight that, and if I fill in and it looks funny, I just redo it, but try to give a little bit of variance to that. I try to put variants or differences in everything because it's just very rare that anything is just evenly distributed, or tangent, so I really want to avoid tangents in most of your work. There's a shadow there, show that separation in the middle of the hair for a little depth hair, and we'll shadows here. Now we got shadows again. I like putting the shadow here on the back of the neck, because it really helps to push that depth that the hair is shading upon itself along with the head because it's in the very back of the design. That's a good way to round out this form. Few more larger shadows at the base, I also want to shade it from the bottom up. That helps to round it out as well, and then when we get over here, I need to erase a little bit of this. Probably a little bit of shading through here. Maybe shade down the tip of the hair right there consist with what I've done over there, and a little bit through the middle here, something like that. I try to stay real careful about overdoing it with those highlights on the edges. It can actually make the hair look way too segmented. I tried to eliminate those as I go. If there's just too many of them and I fall in the habit of doing that. We'll say that the majority of our shadows in our rendering, and then now what I'll do, actually probably a little bit of shadow right here under the ear. What I'll do is go back and add the little bit of line work that you see there. The other thing that I see right across here, notice how this looks like a line going right across just like that, that wouldn't make sense, it wouldn't be there, there's never straight lines in nature. You want to pay attention to that, and if you see that eliminated, and I think that's an evidence of that. To round this laundering further, I'm going to just shade this down further like this, and try to bring these up. I'm trying to just eliminate the look of there being a winery there. Hopefully I get that out of there. Let's go ahead and add some line work like we got here, and then we'll move on to the next hairstyle. I'm just going to use some basic tapered lines, and I'm going to hardly do any if any cross hatching at all. Just some quick tapered lines, stick to them, I am doing multiple poles on these lines to get them to a tape her. I'm not as good at doing one quick pass, and making that affect that I like. I just pull this a couple of times, that's how I get them. These to me are just another way to help round out these forms. Soften up the transitions, and it's a way to create a gradient without using an actual gradient, with just using lines, and then here I'll do some lines like this, again to push some of that back, see, I did it over there, it's a thing I do, I seem to do it on everything, that I think to do it on, and more tapered lines up here. You see they are quick and easy to do or do them a lot, so I've got lots of practice. Then don't worry because I'll be given lessons on the way to create these as well. It boils down to just repetitive behavior and practice, I just do these a lot. I've gone to the field with my hand, where I know exactly, or pretty close to what I'm putting down when I do them, as far as getting the brush setting and all that, that's another matter, but all of that combined and you can get pretty good at making these little lines. I practice doing different thicknesses and different lengths of the pole. Right now I'm doing these abrupt ones, but other times I'll practice doing just slow tapered effect over a longer distance, because the more variety you have in these types of lines, the better for different areas of your illustration. I practice a lot of variants to these, and you see that softened up the transition that gave it a little bit more of an effect. It didn't take too often long, I think this wasn't as quick as it could have been, but it does get the effect down, and then from here the inking and recoloring would really pull it all together, but that's essentially how I do that hairstyle. Let's go ahead and move on to another hairstyle and see what we can come up with. 2. How to Draw Comic Style Hair 3 Ways Step by Step Part 2: Now let's try a couple other hairstyles. Again, I'll start with this one and I'll draw in the direction of the hair. We'll start off very sketchy and just trying to visualize this hairstyle. Probably the best way to do this is to do lots of studies and create lots of sketchbooks and then pull some of the ones that become your favorite, just pull some by art table. That's something I've been trying to do more and more of lately, and I find it really helpful. So if you've got basically, some designs that you think are really great and they can be your go-to designs and you can always elaborate on them obviously, but it's nice to just pin them up by your work, or where you work. Give yourself that reference material. This is the basic shape, you can see it's pretty crude, but it gets the point across. Then I keep adding to it and I keep thinking, where I can add another flip of hair, which way I can curl another opposite hair. Just always trying to think of how I can move it around, so it's not too awfully boring. A lot of times you can take just a little piece and have it go off to the side next to the larger area. As long as it doesn't look out of place, you've got to sometimes just play around with it and see if it works, but it can add a lot of style to the hair design if you do that. So don't forget to add those loose little strands that everybody seems to get from their beautiful hair-do. Let's say that that's what we want. Let's go ahead and erase the underlying part of the hair right there on the head, like that. You really don't have to have that scalp line or that hairline if you don't need it, it's just something I feel that helps me with my design. We've got that out of the way now, we add a little bit of the ears here. Some of the stuff we covered quite a bit, so about something like that. That's our one design there, and I'll do both of these and we'll go back and forth and maybe compare the differences. Now for this next one, I'm going to do one that's actually more difficult for me. I'm going to start in the same manner. We're going to do the really curly wavy hair. This is always a tricky one and I'll be honest, I actually shy away from it because it seems to be pretty tough for me but, that's not how we get better as artists, so I got to show you by example, that the best way to improve upon this stuff is head on. It's really a popular hairstyle that we all need under our belt. You can't be able to draw everybody but, people with wavy, curly hair that just wouldn't make any sense for your comic. But the reason why I think it's so tricky is the hair is so much more dynamic. So there's all these curls and all these bends, and the tighter the curls, probably the tougher it gets to stay consistent, I would think. But I will give you one bit of advice that I've learned from attempting this difficult task so many times, is that you want to really think about the ribbon scenario on this one. These aren't big areas of hair as much as they are big flowing ribbons around the head, around the forms. The more you can think of it that way, it makes it a little bit easier to do. I would never say this is entirely easy but, it does make it easier to do. Past that, it's a composition thing, so it's getting all these curls to look right at these wavy patterns, to look right and do them in just the right manner. So, enough of them where it looks convincing and it looks appropriate. But maybe not too many where it just looks over done and not well thought out. That's probably the difficult part that I've faced with this. What I start doing first is just sketching these loose lines then, and trying to fill out the process, in the hopes of not overdoing it, but it's probably likely to happen. Again, thinking of it more as a compositional element. So I'm studying the shape of the hair, the perimeter, the way the curls are interlocking and working together. I also have to think about which ones will be more in the foreground, which ones will be in the background and the way I'll shade those. We'll get to that. I mean, maybe that's looking a little too far into it at this stage but, that's how I see it anyways. I'm putting those in place. On this side I want to see, there's going to be a little bit a part to the hair. But I want to try not to illustrate that. Again, that line right down the middle, off to the side of the hair. Something like this. I know I told you not to draw over strand and it looks like I am drawing over strand. But in this case I'm actually doing these, these are more construction lines. In fact, a lot of these won't make it to the final cut. What you're seeing here is me doing things a lot rougher than I normally would, just in the sake of trying to fill out the the form of the hair. Again, this is almost like under-painting to a painter. It's more construction oriented than any refined work or me being confident with what I'm putting down because a lot of these, again, probably won't make it. Now to get away from the distraction, let me get some of those, the scalp line and all that erased out here. Push that all back. That gives us our shape of the hair. I'll be it, it still very rough, very crude, but it's a little bit closer. It gives us a direction and quite a bit of direction, actually a lot of different directions with all these curls and everything. That's why I think it's so easy to get confused with. This is just a more complex hairstyle. It takes a little bit more practice and understanding of this where straight hair is obviously a lot easier to render and this would be. Now after you get enough of this construction lines in place, we can now soft erase both of these down and start to clean a mop and, and make some more deliberate decisions. Now let's go ahead and render out these hairstyles a bit more, I need to refine them a little bit more, maybe a lot, but at least a little more. I want this other one up here by comparison, so a lot of times I tried to work by comparison as much as possible. Always helps to give me a perspective on what I'm doing. Even if its comparison by my own work, by reference or art psi. It's never a bad thing to have more information around you. Another thing that you can create just as a helpful reminder, if you struggle to get certain things like this. Pick about five or six different shots of different references that you might like and create what's called a mood board, so I had been doing that a lot more lately with my art and it really does help. It doesn't have to be anything that you're trying to grab from specifically. Unless you made specific by specific in one area of the work. But it doesn't have to be something that you're copying step-by-step or the entire thing. It can just be maybe the lighting of one picture or the the line weight of another or the style of another. You can just pick anything of any of those for each image. Working and just be a bunch of work that you find motivating and inspiring. But those mood boards are really helpful, especially on something that you struggle with. You can put a lot of good reference up on the board thing in pull finance, give that a try it's always helpful to do. Now back to this, I'm just going to try to get some of this line weight and place, get it cleaned up a bit more. Trying to find the shapes in there that I want to see. I'm trying to add a nice variants and lines, some thicker and thinner. Just to get the shapes and place with a bit more area of interest. I will flip the hair up here and there. Back to the stylized thing, you can really take this as far as you want with simplifying even this stage. I went through here and detailed a lot of little segments of hair, for instance, and a lot of little details within that. You could really have gotten the same hairstyle across with a lot less lines. It's really what your choices for style and what you're after. But there's a lot to be said for simplifying the work again it saves time and sometimes less is more. It's really good to pay attention to that. Somehow pointing out to people if you really want to get better with the whole less is more type thing. Draw Disney style characters because they do such a great job with minimal lines and a minimal amount of stock, tons of style but a minimal amount of rendering and line work thing. They're just designed to really, while their characters are designed amazingly well. Study those for more of a minimalists approach and this was something that was stuff I would say. There's enough of our shapes in our design to the hair, clean that up a bit. Now as far as rendering, I want to keep this one a little bit lighter. What I'm going to do here is actually just go for a couple of things I want to point out. One you want to look at these as shapes, not strands of hair. So for instance, this would be a shape. I've got a few too many textured lines in here, but this would be a shape, overlapping shapes like this. You really want to get away from thinking these as individual wines are strands of hair. When you start to think of shapes like that. You almost start think about if this is a series of shapes and maybe there would be a shadow here. You start to see where you could segment it a bit and add the shading based on that. You notice too, where if you weren't, you would just shade the entire thing like this all the way across you wouldn't see any real separation, but you've got to perceive high and low spots. For instance, if this bit a hair comes out in front of this form a little bit, there's going to be a bit of a drop shadow right there, so on and so forth. This bulk O'Hara here, there's going to be a drop shadow there to make that look like it's in front of that. Let's see what else is going to be some shadows back here because they're receding around the face, going back into the distance. So a lot of this is going to be in shadow. We'll put the shadow there. I can start really light was shading, because it's just not my strong suit probably, but it's got to be done. It's what helps propel your work off the page. I just start small and pick at it and then build up on it. Now, I actually want this hairstyle to be lighter by comparison to this one. What I want to do is again just these tiny little shadows that show a little bit of separation, a little bit of high and low spots on the hair, but not overly done. Then I want to do a little bit of glare. What I'm going to do here is just sketching almost like we did before those little lines. I'm just trying to visualize where the glare is on the hair. But what I mean to say is I'm perceiving that she has lighter hair, probably blond hair or something like that. I'm just going to add these little lines across this little heartbeat type line I put in place and that will be the extent of my rendering. Really it's going to be very light and very minimalist, so that the colorization of this hair would take a lot more effect. It would automatically look that it's a lot lighter by comparison. Based on the rendering winds or lack of. Pretty basic, pretty light as far as rendering goes. Then I would reset back little more, check the work, had ends, the tiny little details here and there. I could get in here and do a couple little textured lines, strands of hair or things like that. Depending on how much detail I want in there. But really I would probably just let it go it about right there. Like I said, unless this was darker hair than I would add a lot more shadows and rendering, but I think that about covers that one. Now let's come over to here, on this one softer raise it again. Hopefully I'll be able to get this one chat. But I might have to clean this up twice, just because there's a lot more going on with this particular style. 3. How to Draw Comic Style Hair 3 Ways Step by Step Part 3: I'm going to jump back in here and just start adding some darker lines, trying to visualize some of these curls here. One way is really important here as well, it's always important but should be able to really sculpt somebody's girls just with the way that I use my line weight. Probably a heavier line like that, a couple of tinier ones by comparison. Again, I'll skip big areas, and I also don't want to get in the habit of doing too many like front as I could carry on this pattern, like a tangent all the way back to here, but it's probably not going to make a whole lot of sense, not for really curly hair. Generally they'll curl and then you're going to get a change. You're going to get like either a curl in the other direction like this, so that probably makes it a little bit more sense. The tricky part with this type of hair is just really getting the overlaps right where they make sense. Like anything else, I don't think that this is an overnight process by any means, like this is the smallest things where you have to draw it over again until it starts to work. The best thing to do, I think with anything like this, it's just not to shy away from it because it is complex. Like I always tell people, students that essentially, I think you learn more from the hardships, and some of the things that you struggle the most with. I think those are the things that you're supposed to spend more time on, because you are going to learn so much from. We don't learn as much from the things we're already good at, we just get confident and sometimes even [inaudible] over the things that we're good at. But, put the things that you struggle with you're really forced to learn, you're really forced to beef up your knowledge to overcome that. I always go after those much as possible. But that being said, and apparently not enough in this regard, because I would already be great at doing curly hair, so I'm committing to you that I'm not so. But I think I'm getting its feeling good, I'm pretty happy with this so far, so I'll just keep going with it. I want again, those loose little flips of hair that stray away from the pack. That's always a good thing to give it another level of realism and effect, and I really want to fight the urge to draw too many hairs in succession, as well as all going in the same direction. I'm going to try to change this area of hair like that like a bag. I'll just have a flip up more as it comes this way and try to separate it that way. Then we'll have some pointing downward or here, and still trying to find the shapes as I do this. I can't stress it enough, like I'm always thinking like I'm sculpting, especially with something like this where I'm a little bit unsure of what I'm trying to find, a shape lies in there, I'm just moving things around, if you notice. That's really the whole purpose of software racing down, and then drawing back over top is making these slight little edits and being content in that process, like being happy with making these tiny little adjustments and waiting for something to pop out and say, yes, this looks good, I'm going to roll with this. I think that's like the exploration of your own drawing thing, and that's really what you want to look for, because the more you can do that, the more you're not so flustered by the process, and you just seem to find these happy accidents as a infamous Bob Ross would say. But it's so very true like that's what you want. You want to open up your mind to these patterns, these designs you're looking for, and then commit them to memory, or to finally figuring them out. Seemed like where I hear I feel myself struggling on trying to find the shapes that look [inaudible] might reference a little bit over here and see what's working. I like this little area right here, follows a circle, right about there. That to me is like, I always notice parts of an illustration, whether it be my own or someone else's, that stick out as being maybe better than the rest of the illustration, or parts that makes sense if the rest of it doesn't. That's what I tried to pay attention to. Sometimes you can find something in your own work to save yourself. Then I want to get these tiny little curls popping up here and they're, not all in the same direction like I'm doing right there. Some of them that are popping up and just sweeping around to the back of the hair, back of the head or that direction. We'll start getting some of that sheen on the hair as well, so I'll start drawing some of that and I'll sketch in it on this hairstyle, contrary to what I said before, but hopefully realize with a lot of stuff that I explained, there is never a right and wrong way. There's many different ways to do this stuff, so probably just what's right for right now thing. Now what I want to do too is start getting some of the shadow, it's going towards the back of the neck and it's helping to round out this big crazy mess of hair. I'm going to do is get some of that in there. I also want to start picking apart parts of those and go. What parts are highs and we'll parts or lows? For instance, to me, this part is pretty close to camera or viewer compared to the rest, so then the areas that are beside it, pushing back are going to be a little bit more into shadow to propel this forward. Also mark that, likewise right here, same thing. Feel like this is the part that's closest, and same thing I want some shadow back here by the neck. I'll just use these little curlicues or whatever to illustrate that. In back here, this looks like it's coming from behind this area of hair right there, and it's going out in this direction. The stuff under it is going to be in shadow like this. I could also reinforce that with some directional lines like this, I'm not sure if I will, because it almost makes it look a little bit like it's at a weird angle. I might actually bring that as an under curl like this. Hopefully you can see me changing the shape there a little bit and then try those same lines. Again, I'm constantly trying to edit this and think through it a bit. So these ones right here, probably more in shadow back here. I would say a hairstyle like this definitely requires a lot more thought process than the other ones did, and that's probably again why I gravitate towards those because I can construct them without thinking too much about them. But obviously, that's not going to give me as much diversity and ability in my comics and my storytelling, I've got be able to draw all types of hairstyles. I got to really be able to experiment with each one of them and create variances of each one of them, so that's why stuff like this is just so important to do. That's really why you've seen me copy the same face so that I could simply focus on the hairstyle, not even the character concept. In fact, I almost did this with an entirely blank face, so there'd be no focus on that, it would simply be on the hairstyle. But I felt like it needed the face to help with the entire, drawing a woman and have her face in there, I think is important to even making the hair look right, I guess. I figured I would use an actual drawn off face for this one. Basically a woman with no face is a scary thing, anybody with no faces is pretty scary. I didn't want to work that way, I didn't want to frighten anybody. Going by the ear here we can put more of this in shadow, we can even shade down the ear because it's going to be encompassed by all this big curly hair right there, and really the same process. If you notice, all I'm doing is I'm trying to find these areas that were sitting back, and I'm adding just a little bit of shadow, and I'm making sure to go with the direction of the construction lines I put into place, and I'll just keep repeating that process. Obviously, with the style like this, you could go really far with the shading and detail work. I also have to think about; how long does it take me to construct this type of hair design and how do I simplify it? How do I make it work with as little, not as little time as possible, you want to give adequate amount of time to whatever you're trying to produce, you don't want to fly through things for the sake of just entirely because of speed. You want quality to be in there somewhere obviously. But you have to weigh all those things, you going to find the balance in that, so pick out of here and there. Keep in mind a lot of times what will save you time is something as simple as grabbing a larger brush. I'm working digitally, but I try to use my digital tools as traditional as possible so that when I grab a brush, when I grab a pencil, I'm pretty at home with the experience, because that's why I started anyways. Sometimes just by grabbing a larger brush and forcing yourself to work through it, because it's a bit clunkier anyways, but it's a lot faster. There's actually areas where working with larger brush, I would say hair is one of them really, but it will actually speed you up quite a bit, and it will actually led to being a bit more expressive at times. That's another thing to keep in mind that sometimes it's beneficial to just try some different tools as time saver as well. I'm just going to continue on with what I've got now, I'm not going to switch and making a dramatic changes at this point. Now the other thing to think about is if this is dark hair, which I'm perceiving that it is, then I'm going to do a lot more fill-in. Even though I'm just still sculpting really in my mind's eye of what I'm trying to see, I'm trying to get as much information in place, I would basically take this another level and I would just bring all the shadows that you see here further out. I would take what's already there and I would just intensify it to make it look real like dark hair, and then, you always got to keep in mind, if you take it too far in that direction, you can come back with white or a highlight pen or whatever you got, and paint back the highlights in the other direction. I can take these little flips of hair on the back and I can fill those all the way and since they're going to be in the back of the hair, so that again pushes those backwards in the drawing. So you see it's definitely a lot more work to get this type of design, there's just a lot more going on. But it should be more impressive with time spent in getting good at this style of hair, it should be more impressive overall because of all the little shading and affects, the rendering that you can put into it. A little bit more and we should be just about there. One thing I will do is if I'm working on a piece like this, and again, I think I've already mentioned it that I'm my own anchor in most of my comic work, not all of it, most of it. Then I would probably stop right here because a lot of what I'm doing can just be finished off with ink. I still consider this pencils though, I still do my digital work in the idea of pencils than inks, which I've heard people say that they don't do that anymore but I still do, call me old fashion. I'll just keep playing with the lengths of the little flips a hair and I would add more of those little strands. Sometimes I have to move those around to get them to look right. But I would have these tiny little singular flips of hair, I usually use a pen or brush, always feel like it's got a bit more realism when there's these last-minute little flips of hair that are just doing their own thing. Some little texture here and there, but really, I've incorporated enough texture on this. I don't even think I would think that. I would just keep beefing up the shadows until I get it to a level I like. Then, maybe a little bit of render lines just to finish it off, like we did in the other examples. That's really it. That's how we do a few different styles. Obviously, there's just tons and tons of different styles when it comes to hair. I'll be honest, the things that we've covered here can translate to so many different other hairstyles. It's really just taking the same information that we've covered here and utilizing them for a variety of things. I will leave you with one other example before we finish this off, so that I just feel that this gives you plenty of things to work with and learn from. Let's do that real quick. The last thing I want to show you, and then, we'll call it good, is just an exercise really. You can practice this and do this, and it should really help you to focus on the idea of what I was trying to express with designing the hairstyles. What you can do is just draw a basic primitive shape. In this case, a kind of cylinder looking deal that's tapered at one end. What I want you to do is go and soft erase this down because this is just a container of the idea, the exercise essentially. What I want you to think about is if you were to take a ribbon and put it in here, how it might flow and be contained, and even draw through. Always draw through your work. It's good to do, a good habit to get into. Think how this ribbon would be contained in here and how it would coil and fold upon itself like this. Let's say that it just curls up like this. Not too hard to do. I mean, it may take some practice if you're not into drawn ribbons. I've drawn a lot of ribbons, but really, what I'm trying to express here is I'm not drawing ribbons, I'm drawing hair. I'm drawing really curly hair, like curly lock of hair or something, but because I've thought about it in regards to this container holding it in place, and then a ribbon that I can see as a shape that folds on itself and turns over. Then, I'm forming the hair. Now, if I take that off to the side, just to show you the comparison of it. Then, I start to draw through this and really just use this as my guide. What I'll do is I'll just draw like the way I would draw some textured hair, so we're pretty up close to this hair. We can see a lot more of the strands even though, like I said, you don't want to get in the habit of drawing the strands, but for this particular exercise, I just want to show you how we can make this look relatively close to real hair. Now, we got to think about, "Is this calm and bounce back? What side is this?" Just like a ribbon, "Is this the way it's traveling like this?" We'll say it is. It's little things like this that allow you to draw and do your work a lot further because you start thinking a lot more dimensionally, in 3D almost. I always try to think like I'm working in 3D or like I mentioned before, like I'm sculpting. Even though it's just a 2D image, the more you start to imagine that 3D space, the better your conditions will come out, I think, as well as just lots and lots of practice. It's turning back this way, and again, we don't have to do this type of style. It could be a very basic comic book style, very plain Jane effect. This is a little bit more of an illustrative style or a detailed style of hair, but I just want to show you in more detail, I guess. After we get a lot of this texture in place like before, take that and then we start to think about hair in the other regard like we did previously, high and low spots. We've got areas that are going to have thicker, little dark spots and areas that are going to be more highlighted and a little bit of a clear onto it. I put in those little shadows, and again, I'm doing this real quick just to get the idea down. Hair down. Can't talk. Just like that, and a little bit of hair. It kind of looks like hair. Then, we start to think about the shadows upon itself because there is going to shadow on itself just like anything else. You can get some of that in there. Then, past that, we're going to get those little flips of hair that separate. One of the things I would do is I would change the edging of it because it's going to be hair, it's not going to have a smooth edge on these areas were folded over. I would get in there and I would change the edging of that, to make it look more like hair. Still don't think there's enough high and low spots, so I keep working on that with the texture of it. Again, it's not going to have the smooth edge right there. It's going to be bumpy and some spots are going to be a little bit higher. We get that in there. These are all just observations. These are all just tiny little observations that I'm trying to make, to make it look like hair. Obviously, hair back here is going to have some loose ends as it's cut off or whatever it is. You're trying to think about all of these things as you illustrate it. Then, there's going to be these tiny little pieces that are flying around and loose ends or whatever. You're going to get a little bit of that in there as well. It's all those little things. When you do your studies, when you pay attention to this stuff, that's really what you're going for. Then, if you're doing the comic book thing, then you have to simplify this like we did in the other examples to make it work within your drawing process. This is a fun little exercise that you can do and play around with and see how it works for you. Just another way to commit some of this to memory and experiment and all that jazz. Hopefully, this lesson has been beneficial for you and taught you a thing or two. More on the way, so thank you for watching.