Beginner Figure Drawing - How to Draw Hair | JW Learning | Skillshare

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Beginner Figure Drawing - How to Draw Hair

teacher avatar JW Learning, Drawing the Body, Head and Hands

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 37m)
    • 1. Trailer

    • 2. An Overview of Hair

    • 3. Supporting Structures and Gravity

    • 4. Short Hair

    • 5. Long Hair

    • 6. Shapes and Transitions

    • 7. Hair Types

    • 8. Facial Hair

    • 9. Demonstration

    • 10. Timed Drawing Session

    • 11. Timed Demonstration Part 1

    • 12. Timed Demonstration Part 2

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About This Class

If this continuation of this Beginner Figure Drawing series we cover one of the more fun aspects of the drawing process and that's Hair.  In this tutorial we'll cover the best ways to simplify the complex nature of hair, and how to best tackle tricky hair style and shapes.  The first part of the lesson will be a lecture and Demonstration, followed by a 30 minute Timed Drawing Session, and finishing with a Time Drawing Demonstration. It's recommended you first cover the Head Construction Series if you're just starting out with art. 

Stock Image:
MJ Ranum
Human Anatomy 4 Artists

Continue learning with the follow up lessons:

Figure Drawing Series:
Lesson 1 - Gesture and Construction
Lesson 2 - Dynamic Forms
Lesson 3 - Construction of the Body Parts
Lesson 4 - Proportions  

Head Drawing Series:
Lesson 5 - Constructing the Head Part 1
Lesson 6 - Constructing the Head Part 2
Lesson 7 - Constructing the Head Part 3

Hand Drawing Series
Lesson 8 - How to Draw Hands

Meet Your Teacher

Teacher Profile Image

JW Learning

Drawing the Body, Head and Hands


Hello, I'm Josh, never ending art and design student.  Drawing and painting can often be intimidating for people who have never sketched in their life but what if I were to say it's not as scary as it looks?  I'm looking to pass on the knowledge that I have learned to people who are new to art, casual hobbyist looking to improve, or to those who are looking at art and design as a potential career path.  The lessons I've put together break down the process of drawing and painting into small yet manageable pieces that allow you to absorb the material without overwhelming you with information.   The aim is to give you simple tools to build complex creations.  The lessons are structured like a pathway, starting from the basic foundations and fund... See full profile

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1. Trailer: in this tutorial, we are going to dive into one of the more fun aspects of figure drawing and that is here. Taken come in ALS shapes and sizes in a variety of styles. But it's also something that can get tricky along the way. So we're going to spend some time breaking it all down, and then we're going to finish it all off with a series of time exercises. So grab your pencils and let's get styling. 2. An Overview of Hair: hair is something that's really fun to draw and can add so much life and personality to your characters. There's a variety of shapes and sizes and stars we can use. There's so many different lengths and directions it can flow. It's the area of the figure that can not only give a lot of personality, but it could also help to convey a sense of story as well As much fun as playing with hair can be, it can also end up getting a little confusing and very challenging for people who are just starting out. It's all well and good if we have a character with a buzz cut or really short hair, but it's going to get very boring very quickly. If we do that, we want to draw characters with long flowing hair blowing in the wind, some type of spiked hand Mohawk type of design, some crazy calls and everything in between. One of the mistakes beginning artists make when they start during hair is that they focus on the individual follicles. We dive head first into the textures without actually analysing what the overall shape informers like. Constructing hair in this way is not only very tired consuming. But the likelihood of it looking believable is virtually zero. Hey, really can't be looked at as thousands of individual strands. It's way too much information for our brains to process, and it's just not going to end up looking good if we draw it that way instead, needs to be looked at as being big areas of shape first. In other words, we need to think about simple firing our head into the biggest groups that we can see first and then work our way down to the more refined details. Each hair style is going to produce its own unique challenges, but the process for each is going to be more or less the same. Ultimately, we're not really looking to draw thousands of individual hairs on ahead. We're looking to create something with volume and texture, so let's take a look now at how the hair is constructed 3. Supporting Structures and Gravity: If we are looking to simplify head, the best thing we can do is to find something that is analogous to its movement and appearance in shape. And that's something we're going to use. This fabric or dry Paree fabric can twist and turn any which way you move it and reacts in a similar way to its surrounding structures and environment as what hair does. So we have something that has thesafeside characteristics as hair whilst also being relatively easy to envision. So that's going to be out starting point. They're going to be two main things we have to contend with when it comes to hit. The first is supporting structures that the hair is in contact with. More often than not, that will be in reference to the head. But it could also be any area of the body that supports hit. And the second, of course, is going to be gravity, which is always going to be naturally pulling the head downwards. Both of these factors are going to affect the shape of your head. If you look at the shirt that you're wearing now, both the shape of your torso as well as gravity are defining what the shape of your shirt is currently like how the creases of folding, how the sleeves of hanging, etcetera hair is going toe work in the same way. Yes, they're going to be defectors that come into play, like whether the hair is straight or curly, whether there is wind involved. But the idea remains the same. The thing to remember is, the longer the hair gets, the more gravity will play a part in determining its shape. As he gets shorter, gravity is less of an issue that we have to worry about. The shape of that shorter hairstyle is simply going to be more form fitting to the skull structure underneath. It's not going to be affected by gravity in any significant why the moment The Hague it's any sense of length is where gravity will kick in and will start to pull the head downwards and affect its shape. If we look at these examples here, will notice with shorter hair that it's quite easy to get a sense of the underlying skull structure shape. What's going to be important for us is when we start increasing the length of the hair as the hair gets long up, we need to make sure that sense of skull structure remains underneath. So as we lengthen it, we not only need to be aware of what gravity is doing, how it's pulling down the hair, we also need to make sure that it feels like it's sitting upon that skull as well as any other structures the hair might come in contact with. 4. Short Hair: short hair is pretty straightforward. It's going to adhere to the shape of the head or, more specifically, the sculpt. So if we construct our head correctly, short hair is going to be relatively easy. Foundations for us to put in short hair isn't going to be hugely impacted by any other area that faced, and it's not going to be affected by gravity to any great degree. What we have to be aware of with short hair is that it tracks along the same access lines as are other facial features. A few lessons back, we looked at the construction of the head, and throughout those lessons we weren't that. The facial features all track along the same horizontal exercise. These access slides hope us to ensure out facial features are positioned correctly relative to the position of the head in three D space For a hairline, we need to ensure the edges and corners that make up its shape are also tracking along the same access lines as the rest of our facial architecture. So if our eyes, nose and mouth are positioned in this direction along these access lines, we have to ensure at hairline is following along the same direction as well. This goes for whatever shape the hairline is. It's pretty easy when the headline goes straight across. But if we're drawing someone with a widow's peak, we have to make sure this front section and this back section are both trekking along the same direction as there are the landmarks. The recession in a widow's peak is going to vary from person to person. Some hand lines will be more or less straight across. Others will recede quite deeply into the skull. The back of the head needs to follow suit. The back of the head follows along the same direction as our facial features, so the hair of the back needs to maintain that tracking also while sticking to the rules shape of the skull. What you'll find, however, is the back of the head will tend to lift up a little, but not so much that we lose that underlying skull shaped structure. Even if we have some type of crazy hairstyle that pushes up, we still want to get a sense off that skull being present. When we talk about constructing the head a few lessons back, we made mention that There are really two gestures that make up the head, the front facial gesture and the gesture for the sculpt. We talked a lot about that front facial gesture, but not really much about this skull gesture. When we talk about having a sense of skull being present under, I hear what we're looking for is that transition from the top to the back of the skull. In essence, we want to feel like there's almost a corner prison, a feeling like there's a change in direction from the top to the back and not just one big ball shape. If we ignore that change in direction from the top to the back of the skull, we're going to end up with here that looks very unnatural and awkwardly placed. So whatever the hairstyle is, we end up drawing long, short, 60 style hair, seventies Effros, eighties mullets. Whatever it is, we need to maintain a sense that our hair is sitting on this underlying form, that it's moving and acting in the same way as this skull structure it's sitting on. That might mean exaggerating things a little bit, adding in a little bit more of an edge that at first glance might be very subtle. You're much better off adding that little bit of construction in than leaving it out. It's going to reinforce the form of the skull underneath, and it's going to make our hair shape look far more believable. But back to the hairline for a moment, everyone's hairline is going to be slightly different. But when the hair starts moving down the side, the shape remains relatively the same for everyone. We've got this area of hair that thrusts out and then steps back down to create the side birds. This area is actually going to be super useful because it's going to act as an additional corner landmark for ahead. Our eyebrow arch is the main starting point for the transition from the front of the head to the side profile, and this area of hair is going to act as an additional change in that transition. So the eyebrow landmark will become the first step to the heads profile, and this hair landmark will become the second. But we can also take this refinement a little further. If we look at the widow's peak area, we can actually say this area off the full head on eight is actually the real starting point of a transition from the front of the head to the side. And these other landmarks are actually subtler transitions, subtle changes in direction. So all of a sudden, what was originally just a simple hairline is now helping us in a rather sophisticated way to give further shape and definition to our head structures is helping us transition from the front to the profile in a more refined way and is hoping to reinforce our heads position in three D space. 5. Long Hair: Let's take a look long hair. This is where drawing starts to become a bit more fun because not only can we designed something that looks really interesting, a really cool looking hairstyle, but we can also develop a sense of story within that image. Long hair is not only really great at capturing nice, gestural rhythms and out drawings, but we can also depict the characters movement in ways the rest of the body con. If we have a character turned away with their hair trailing behind, we get a sense of where she was previously looking. We can essentially tell a story about where that character was looking a moment ago, because the hair is in a different place. Toe where her head is now facing her head is turning away whilst her head has yet to react entirely to that movement. It's trailing behind, giving us an indication with captured a moment of action. You'll see this in animation when a character turns their head a certain way in a cartoon or animated movie. The reaction of the hair to that change in direction will be delayed by a few frames, so long hair is great in that it can convey nice, fluid gestures, can help to depict a character's movement and can even capture a moment in time where a character is going where they've been there at so many possibilities. The thing about long here we have to contend with more than short hair is going to be gravity. Gravity is always going to be pulling our heads down, and as such, it means the longer hair gets, the more structural components it's likely to come into contact with and the more descriptive off bigger structures it's sitting on it becomes. So if we look at this example, he gravity is pulling the hate down, but its shape is being altered by virtue of it coming into contact with the shoulder. What you'll notice is the hair starts adhering to the shape of the shoulder structure. If there was no body underneath the hair, gravity would just pull the hair strike down. But the contact with the body is interrupting that float and is affecting the hairs, shape and direction. The beauty of this is that the hair can actually help to reinforce the shape off those shoulders. We can get a sense off the top of that torso, the shoulders all the way around to the back. We can do that with the hair coming forward, also hoping to defy the upper torso, shoulder and breast area. In fact, if you take away the body entirely and just leave the hair shape there, our minds are going to feel in the blanks. It will still interpret that the hair is interacting with that upper torso structure. So, along with being a method of storytelling, long hair can also act as an inverted or negative shape that hopes to define out characters , body and notice. Also at the top, what we've got going. We talked about defining the shape of the sculpt and transitioning from the top of the skull to the back. When it comes along here, it's going to be super important to feel that there is a sense of changing direction. As we said, you're better off exaggerating things, making things a little box, it in its shape, then what you would see in real life. And that's going to remain truthful, whether the hair is flowing down or up in a bun or in a party tile. In fact, if we have a look at a bun. What will notice is that the volume of the hair is going to be lifted up, but we still want to maintain that shape of skull and innate. Not only that, but we still have to be thinking about what gravity is doing and what structures the loose hairs they're going to come into contact with. So if the bottom of that bun is very loose and messy, the hair is going to swing down and attach itself to part of the shape of the neck and then swing up toe where the bunnies and that goes for other areas. Maybe she's got some locks of hair from the front that swings down and up and over the or a few strands tracking down from the front and over the shoulder over the back. Whatever the design is, and whatever position the head is in, we need to maintain the feeling off whatever structures the here comes into contact with. We have to think about what gravity is doing, and we have to maintain the shape of the skull 6. Shapes and Transitions: One of the most daunting things about hair is just how much of it there actually is. As such, many beginning artists tend to get bogged down with drawing the individual hair strands. Not only is this frustratingly time consuming, but it ironically tends to make the hair look and feel less natural. What we're going to do instead is to simplify the process for ourselves and group large chunks of hair into basic shapes. There's no Hon fast rule about exactly where these shows beginning in, so it's open to interpretation a little bit as to how you identify these areas. What we want to be looking for is the areas with the most noticeable changes of hair direction as a starting point to simplify things. Our first task, however, is just going to be developing the overall shape of the hairstyle. This means ignoring all the curls that twists the loose strands and focusing only on the rough outline off the head. From there, we want to look for the areas of hair that start changing direction. If we look at this example here, these areas that are marked off highlight roughly where the hair is moving in different directions. You can tell this part of the head looks like it's going one way and this area is going in another. So this is the best place to start mapping out which areas of the hair we need to group together. So pretty straightforward. So far, the important thing we have to remember is that even though the hair itself doesn't have a lot off form, the weight clumps together will end up creating form and volume. This is on top off the underlying form created by a skull way. Things start getting tricky is when we start refining. The Hamel hang groups together, as we said, but it doesn't all sorts of ways and goes in all sorts of directions. So it's very easy to become overwhelmed and lost with where to go next. The truth is, the process is going to remain more or less the same as before. We're going to look for the next largest batch of hair groups and develop their shape and then full of that up with the next largest batch and so on and so forth. The key is to work from big to small, all the while trying to relate the movement and direction off the separate groups together , hair is the most gestural part of the figure. Every gesture foundation we put down for every other part of the body is eventually going to reduce because we have to construct solid forms over the top Here gives us the benefit of allowing those gesture lines to remain in place for a lot longer. And so the worst thing we can do with these areas we've defined is to make them look two separate from each other. Making sure these parts feels if they are flowing together is the team that they are emerging from one area into the next and not looking as if they are just individual areas doing their own thing. How does this area flow into this part? How does this area flow into the pot? Next to that? How do we transition from one part to the next themes of the questions we have to ask yourselves. A key to making these parts look like they are flowing into each other is actually how we move out pencil room because we've got these parts moving in different directions that we're trying to harmonize together how we put our strokes down is going to be important. If we have two opposing see curves that we want to make slow together. What we need to do is to make strokes that gradually morphed from one seeker to the other. This is called a wave action. It's a way to imply a change in direction. It's going to keep our gestural flow, and this is what we want to be thinking about without strokes as we move from one area of hair to the next. What's also going to help without hair gesture is if we think about the areas of hair that have bean pinched together. We talked earlier about how hair ex in a similar way to fabric aled drapery or at the very least gives us the illusion that it does. So if we take a piece of fabric and twisted around, we'll find hair accident. A similar white parts will twist and co around themselves much in the same way at pace of loose fabric will, if we take the corners off that fabric and pin it to its surface. What we'll find is that all the creases and folds will start converging to that pinpoint, and our hair is going to do something very similar. When head groups together, it starts to look as if it's being pinned to a point. So if we start running into trouble and getting a bit lost, trying to work out how to start refining things or we have to do is observe where the hair looks like it's being pinned together. You can actually see it. He even in our largest foundations. These parts look as if they are converging to this specific area, and this pinning goes for both positive and negative shapes. It's not just the hair that we have to look for. It's the spaces in between where the shadows are being formed, where this pinching is happening. The longer the hair gets, the more laid it becomes and the more likely these pinpoint actions are likely to occur. So that's the process for getting stunned without here 7. Hair Types: just a quick note on hair types. Whilst there are thousands of varieties, there are generalities in hair shaped structure that exists depending on what part of the world someone might be coming from. These aren't hard and fast rules by any means, but it gives us a rough idea of what differences exist. Asian style Hey has a tendency to be relatively flat and straight and very form fitting. As such, this type of hair is going to define the shapes. It comes into contact with, ah, lot more easily because there is less volume. This is usually the easiest type of hair to construct. If we look at more African style hair, this hit tends to be made up of lots of tiny curls. Because these shapes are so tightly bound together, it means these strands of hair tend to bunch up a lot more next to each other, almost like a series of small cylinders packing together that generally causes the hair to become significantly thicker and move volumetric. As such, the hair tends to push outwards a lot more naturally. European style hair has a tendency to land somewhere in between. It's not nearly as full and volumetric as African here, but tends to be way via and a lot more les than Asian hair. It also tends to have the biggest range of difference everything from being really curly Teoh, really flat and form fitting. It also has the most color variation as well everything from flat blond to Red Coast and speaking. Of course, this is the one area that tends to give beginners the most headaches, but in actual fact that easier to construct, then what you might think curls without tightly compressed, very loose and flowing act in a very similar way to ribbons. It's really just two s shapes that we have to cross over. And wherever the outside corners align, we simply join these parts together in a way, calls act as if they are wrapping around an invisible cylinder. So if we ever feel like we're getting a bit lost when drawing curls, weaken, try overlaying a rough cylinder shape on top to help guide us in the construction. So there's all sorts of variations of hair that exists. They will present their own unique challenges at the end of the day that the process that we've gotta is going to be more or less the same regardless of the type of hair with dealing with. We want to be thinking about the shape of the supporting structures. It's coming into contact with the skull, the shoulders, whatever that structure might. B. We want to be thinking about how gravity is pulling the head down. We want to be looking to simplify the shapes of the hip, and we want to be thinking about half the transition from one part of the head to the next . 8. Facial Hair: Let's just quickly cover facial hair is, well, facial hair is going to behave in the same way we've already gone over. There is going to be structure underneath is going to be gravity and the directional flow of hay. The only real difference is going to be the placement off this hair. In the same way we want to keep this skull shape present on the top of our head. We want to do the same for the facial features. We have three main areas. Full facial hair. We've got the moustache, which sits underneath the nose. The goatee area, which starts at the bottom of the lip, and fans out, and the sideburns area, which cover a good portion off the cheek and Joe Line. What will notice with the facial hair is there's a bit more of a defined direction in its movement. The moustache will wrap around the surface off the upper lip. The goatee area will start with a little tuft of hair at the bottom of the lip and then fan out around the chin. And finally the side birds. The sideburns will push down and back towards the neck. What's going to be important with this type of hip is making sure there is some semblance of our facial features present in the design. If we take a look at this example, we want to make sure, no matter how thick, we end up making this beard, that there's a recognisable shape presence for the mouth and chin area. So if we take notes off this outline of the head, we want to ensure when we start adding our hair in that this pattern remains present. We want this bowl shaped area of the mouth and that square shaped area off the chin to remain true in our design, no matter at what amount of hand, we end up adding on to our character. We want to feel like that Moustache curls under in the same way that upper lip does. We want that same feeling off form dental lips have that goatee. We wanted to feel like it's pushing out like the chin does that the sideburns follow the same angle as our jawline, all the while thinking about how we're going to transition from one part to the next. Using the same wave method we talked about earlier, making sure our strokes animate from one direction into the next, and the process were using on the face is going to be true for more than just us humans. If we ever start branching out into animal illustrations, the same principles we've gone over here with the facial hair is going to apply. We work out what our underlying structures are and then make sure their hair adheres to that shape and form. So no matter if you're drawing humans, animals, monsters, aliens, whatever fantasy creature, you can think of the same ideas and concepts we've gone over here. The underlying structures, gravity movement, all these ideas and concepts are going toe apply. 9. Demonstration: All right, let's do a couple of demos and just do a bit of a recap of what we've gone over. It's always going to be better off putting out skull and facing first before we start putting our head in. This is just going to give us an idea what the shape of things are and how our hair is going to adhere to that show. We don't have to construct everything about the skull 100% underneath, although it's not going to hurt. If you want to do that, it's actually pretty good practice. If you want to get all your foundations for your skull, your face in first and then to start overlaying the head over the top, it's going to give you a better idea of what the surface is, what the form is and how your hair is going to react to that surface. And, as you can see as we're dealing with short hair, first off, the shape of the skull is going to be retained a lot more. Even though the back of the head does puff out a lot more, it's still being true to that overall skull shape. We don't want to lose that at all. If we make it to round, it's going to start to look very unnatural. And also take a look at where these shapes are that I've defined for our particular hair parts. They are all converging to this top point, these basic shapes that we've defined for ourselves. Locust. If they are being pinned together at this particular point, the direction of the hair gives us the illusion that they are moving towards this particular area. So these are the things that we have to look out for when determining how to break out, hair up, looking for where the parts are converging together, where they are giving off the illusion that that being pinned together. And when we get these basic construction parts in place, we can then start to bring some gestural lines back into our head, all the while keeping in the back of our mind that what we're dealing with is something that has formed. Yes, we said earlier that hair itself doesn't have a great deal of for, but the service that it sits on and how it clumps itself together will create form. At the same time, we still have to be thinking about our strokes as well. We've created these individual parts that we somehow need to bridge together, and using this animated wave pattern is certainly going to help with that. If we just rendering detail those initial rough foundations we put in for a hit. What we're going to find is that they're going to look way too mechanical. It's not going to feel is if there's a nice flowing movement from one part of the head to the next nets. Ultimately, what we're looking for so that wave action is going to become a vital component in that transition from one of our initial pots to the next and is going to ensure there is a nice flow of movement. You know, hit. It's an action that takes a little bit of time for your arm to get used to, but once you do, you'll find it. It's going to free you up a lot more. It's going to add a lot more gesture and float not just to your hair but to any part of the body or anything, really, that has an organic motion to it. Practicing that wave motion from one C curve to the next is actually a really good exercise to do so. It spend a couple of minutes before you get drawing, just loosening up with that action. Alright, let's try an image with some longer hair, so this one's got a lot going on. We've got a hair tied back in something of a loose bun, some hair draped over her ear. India Nick in another group of here that is going down her face and over her other shoulders. So quite a lot going on here. But we just have Teoh break things down into the simplest forms that we can see. So the head structure obviously is going to be vital for this one because we've got her hair being tied back and wrapping around her skull. And this is a pretty good example of where it might be more beneficial to put a full skull structure down first due to the way the hair is wrapping tightly around the head. So we're going to have to modify our approach, depending on what the Hare stole is doing. Sometimes we can get away with just putting a little bit of the face structuring, and then building the hair on top and other times were better off putting the whole school in first and then drawing over the top, whatever the hairstyle is. And it's only now that I've got those foundational shapes in place that it heated that sculpture I'm comfortable with moving toothy other areas. You are much better off working on getting that form right, making sure that top part is adhering to that skull in the right direction and in the right perspective before diving in tow. All the details. We don't want to find ourselves in a position where we've put some foundations in, started painting over the top of it, putting in a lower refinements and then finding out that actually, the hair isn't tracking correctly relative to where the head is tilting that we didn't make sure things feel like they're actually wrapping around that surface. It's nothing that we can't fix. Of course, we have a process in place. We look for the basic shapes. We look for the flow of direction, the movement, we look for the pinpoints. This is our process for creating hair. We want to make sure this part of the hair feels like it's flowing up and over the E. And if we have all of this in mind, from when we stop putting out strokes down, it's going to make things a lot easier for us. We're not going to feel as lost. We're not going to get as frustrated with their Selves, but like everything, it takes time. And they were going to be moments where you just feel like throwing your hands up because you just can't get the shape of the hair correctly. They're gonna be moments where you just get completely lost because there are so many curls and so many tangles there. But we just have to be patient with ourselves. We have to be okay with the fact that we are going to screw up along the way. That process will come in time eventually, and it will start to become second nature. Just gonna add a few facial features in because I don't like looking at plank faces now. I could obviously spend hours on this, of course, but we're just looking to capture the overall shape and feeling of this particular reference image. We're not looking to duplicate things 100%. We're just looking to capture the overall feeling off what they hear is doing. So we've got the hair pulling back towards that bun. We've got the hair flowing over the ear and down the neck. We got that part in the shadow which is going over her face and towards the other shoulder , the loose clumps towards the back, curling around, being dragged down by gravity and then being pulled back up again. We're not looking for super detailed things at this state. We're still very much in the foundational stage for our hair construction. So with this demo complete, it's now over to you to try these ideas and concepts for yourself. With the time drawing session, there are going to be six images with different hairstyles. Each image is going to be allotted five minutes of time for you to draw with. Get as much as you can get done in that five minutes of time. Remember the concepts that we've gone over, and then afterwards I'll come back and show you how I do it 10. Timed Drawing Session: No way. Okay. With good with All right, look. - Yeah . No. Oh, - okay . - Oh , and no way, Way, way, way, way, way. No way. 11. Timed Demonstration Part 1: all right. I hope you went or right with those. So now I will do the same images. We'll start off with the very easy one. First, I tried to make them in a way so that they were gradually getting more complex as the images progressed. And with this particular set of images, this set of six I'm going to do something a little bit different from what I've dunning previous time drawing sessions, and we're going to change up the medium a little bit. We've got to stop with using just regular pencil for these first couple of drawings, and we're gonna mix it up with a few wit brushes. And if you charcoal brushes and maybe a pen brushes Whoa! So I'm working digitally, of course. But the program I'm using procreate See my lights, Real world meetings pretty well. So it's always good to actually change up your mediums every now and then, just to get an idea of not just what the results are that you can get from them, but also it gives you an idea of what made him you might actually prefer. So it's not always about pencils and paints. We've got options from Marcus, too, to watercolors. I've seen someone draw with a chuckle bar. What's that was quite hilarious, so I feel free to experiment. So as you can see, the shape here for this one is relatively straightforward. Most of the hair is wrapping around the skull, but the important part to get right actually is right at the back with hair in the neck joint gravity is, as you could probably see, is pulling that head down. So I'm really trying to make a conscious effort here in my mind, to think about how all that hair is just sort of being dragged down, bunching together and then being lifted up again. Of course we've got Of course, we've got strands that out interacting with all the structures along the Y T E. He, for instance, we've got this section of the hair is really adhering to the actual shape of the so if he noticed the flow of this particular pot it lifts up in over its shape is being affected by virtue off the ears sticking out. So these little bumps and indentations that the hair comes into contact with it's going to affected shape and you'd be surprised how much that can actually affect the whole shape of the hate, so the he doesn't really push out all that much. For most people, it's really just a small format is sticking out a couple of centimetres at from the skull. And yet when you start layering hair over the top of that, no matter how much it is usually some indication that that the shape is still present, there'll be some type of slight bump that that hair still makes, regardless of how thick it is. They're going to be exceptions, of course, depending on exactly how curly hair is that's going to affect things in a different wife. We'll get to that. We cover the the last image, but this one's pretty straightforward. For the most part, it's not too complicated. We've got a bun is well at the back, and that as well, has its own shape. But it's still if you can probably see it's still adhering to the idea of the pinpoint that we talked about. All these not set up overlapping each other, are still looking as if they are coming together to a single point, and so it doesn't really matter what style the hair is in. It could be grades. It could be some type of Mohawk, some type of wild, SciFi fantasy hairstyle. Something from Star Bull is a Lord of the Rings. These basic principles off basic shape and flow in direction are going to remain true. The only time it doesn't is when we've got a shaped head. We're very, very, very short haircut. But even then there's still going to be some element off that hand structure that we have to deal with so you can get very talented. But it can also get quite fun as well. There will be a lot of frustration along the way. They were going to be hair stalls and hair types that you come across where you just sort of shake your head and go. Where do I even start with this? Sony Dan Curls is so money waves and lies to it. But just take your time and we'll finish this one off now and move on to the next. All right, I know that relatively easy. Want to start with now? Now, this is a really, really short hair style, so we've got a significant amount of skull that we have to deal with a lot of form love structure. We have to get correct first before we even worry about what the hair is doing. So you might think that this type of pose, this particular type of hair style rather is one where we don't have to worry too much about the shapes and gestures about Hey, and to a certain extent, there's less for us to be concerned with in terms of getting right, because there is so much here that is more or less just following the overall outline of the sculpt, that it's a lot easier. There's a lot less work involved, but there are still areas of hair that clumping together. They're just doing it in a much subtler way. Yes, you can see I haven't even worried about the hair yet. I'm still just constructed face because it's going to be super important for this particular hairstyle to get these foundations right. And it's only now I'm comfortable enough with how my underlying construction looks that I feel comfortable enough in moving onto building the hairline. So as we said in the demo, they're gonna be instances where We just have to adjust their approach, going to be significantly easier, building a short hair style this way, then doing this backwards. There's nothing wrong with doing the hair first. That's what you really want to try and building the skull and face afterwards. But you're probably going to run into more problems than what it's worth, as you might notice it, even though we've got a very short hair style, I've still sectioned the hair off into two main parts because the top part of the hair is clearly going in one direction over to his right hand side. Whilst the side pot is going in a different direction, it looks like it's coming towards his face and then cooling around back and also remembering to keep an eye on things, making sure everything is position correctly. So we mentioned earlier that the hairline has to follow along the same directional part. There's the other facial landmarks that we've got going, so it was still breaking this down. In fact, Weaken probably do this further. Another way we can break out shapes stand is if we just simply look for where the lighter and darker parts off so if we ever feeling like we're not 100% sure what direction that here is going in, a simple alternative is to focus on the light and dark areas you might save yourself. Okay, I get that concept. But there's so much detail in the way of these areas that so many hey, strains and loops and curls in the way. That's a bit hard for my brain to register where, exactly the light and dark areas up. And the easiest thing to do that, if you feel like you're getting lost, is to actually just blue your eyes a little bit. And what that will do that well, cancel out all those little details, and we'll just leave lot in dark areas in your vision. So that's another alternative to creating your shapes. You can either do it via direction as we've gone over, or you could do it viol, light and shadow. So if you go over these time drawings again in the future an option you could tries to just focus on the light and dark areas as your basis for your shapes and see which one works for you. Maybe that is the better option for you When constructing here, maybe trying to find the directional flow. The hair is a bit challenging. So we've got alternatives. All these air just tools for us, the more tools we have and a disposal, the more options we have and the more problems we can solve. Hair is just going to present all sorts of unique challenges to us. The human figure is going to remain the same regardless of how big or small someone is, how much they weigh. All of that is going to remain more or less the same. But here you can throw up all sorts of unique challenges for us. And the more tools we have, the easier it will be for us to overcome those challenges. So I'm making my strokes flow over in the same direction. Is that part of the hair using that wave action? We went over in the lecture and demonstration. That's really gonna help. So the direction of your hey, we just want put scribbles down. A lot of beginning artists tend to just start scribbling down, so we want to make out strokes count. The more they followed the direction of the hair, the more believable it's going to become. So we'll finish this one off and move on to the next. Okay, we're going to use a wet brush for this one, because this is going to give us a different way to tackle the hay. I personally prefer to use something that's more of a wet brush, either digitally or in real life as well. This is his questions you can get digitally to mimicking rial. Wet brushes has very similar dynamic, which are quite like the beauty with using a wet brush method is that it's all what more malleable pencil you have to put down. And then you have to will rice. And yet you can get good results with that, but sort of a back and forth process, and this does have a bit of that as well. You can also spread things around a lot more easily to try things out. You can paint over over again, so I tend to prefer doing this with hair construction. It just feels like there's a lot more room to breathe. With this, you can kind of display around if it is often as you need to to get the arboreal shape and shadow just is right. Look free of so everything is converging to where that hair is being pulled into a ponytail , this whole area shadow. We can't really see much in terms of detail, but we can certainly figure out where the hair is being pulled to the groups of hair on top that Aaron Lights are all curving down. It's that one direction. So as long as we know what the shape of the structure is, the hair is sitting on and what direction the hairs of flooring towards we can still in any gaps we can, adding more details and what are actually there. If we want to lighten the in tight in the job, maybe put a little bit of a rim lights or a secondary light source of some description onto that area, we can more or less filling the blank sale Selves. Just stop developing this pony title a little bit and all these curls and twists that happening at the end off this ponytail. That's where things can start to get a little confusing and a little bit overwhelming sometimes. But really, we have to do is just slow down for these particular parts, and now we've only got five minutes, propose he, but we're not bound to this particular time limit. So if you want to go back in, just pause the video and just spend 10 15 minutes on a particular pose. Oil means all these images will be available in the class notes and some additional ones as well. You could also just google as many images as you want. There is plenty of hairstyles on their future reference, but the key is just to slow down and carefully analyze What direction is the hay flowing in ? One of the shadows that are being created with the shapes that are being created and gradually work your way down to the small details. Even people who do realistic findings it's hyper realistic photographic like paintings still do a similar method with I will playing out the big stuff, get the big shapes in, and then gradually work their way down to the smaller, finer details to the final highlights on those hairs because at the end of the day, even a single strained of hand has shaping form and will act in the same way as a large clump of hair but it all just takes time. Five minutes is not a great deal of time to get much of any hair style down, unless it's a super simple one. Like we already saying something like this, You could easily spend 10 15 20 minutes, maybe even longer just analyzing and mapping out your shapes and just juice and mapping out where your shadows on way or highlights are. You could spend a long time constructing here, but that's if you're looking for realism. If we want to branch out to other styles, things change, but not too much. Look at more comic book style here it's a lot more simple. Fired its a lot more based on mind work. Artists don't have a lot of time to be missing around with, you know, a lot of form in that format. So they got a charter, get the same ideas across fewer strike. So that's a different set of challenges that we might try using a pen brush round next image, different set of challenges and different type of fun. We'll finish this one up here and move on to the next 12. Timed Demonstration Part 2: All right, we're onto image number four now, So we're using the pen for this one. Penza, Actually a very unique and more challenging tool to use for drawing. We don't have the luxury of being able to erase it easily unless we using some wideouts. But it's also very good for just being very loose and not caring too much about what the end result is. But in a strange way, it also forces you a little bit to think about what it is you're actually drawing. Have to be a little bit more careful with it, because erasing is very difficult with Ben, so it can be very freeing. But it could also be a really good challenge for yourself to maybe you want to see just how well you can drawer without raising anything accurate you can get. And even though I'm working digitally and can very easily just erase this layup and put a new one in and start from scratch, I try to treat the tools I'm using is if they were really And the reason for that is we don't want to necessarily get used to just working in the digital medium only and my advice would be to try to refrained from actually using the undue tools unless it's absolutely necessary. You wanna look for solutions that can work both in the digital space end in real world space. So I've got my rough architecture in, and I'm really just going to spend most of this time just being a bit free and loose with the strokes and the halo in here, you can see that there is a sense of where the hair is sort of sectioning off. We've got this particular part of the hair out in front, which is curving significantly, mawr, then the other strands around it, and that's a pretty good place to partition one section of the hair off from the rest. It's the most logical place you could probably look at it in a few different ways and find other places. You can divide one section of from the other, but we really want to be looking for the most obvious sections. And that's why we look for the changes of direction with hair, the front portion of the hairs sweeping to the left of the image whilst the back portion of the hair. Since we're going a lot more politically. It also helps. There's that big, shadowy area we talked about looking for shadows as a means to define the shapes as a means to help us, and this is a pretty good example. So it's a pretty clear indication in this image where the boundaries are between our shapes and you'll notice with this particular Hessel because of how spike it is. We've got a lot of these shadow areas, a lot of these negative shapes. They're hoping to define what the hair is doing, what direction it's moving it. In fact, sometimes it's better to work from dark to light. In fact, it might end up being your preference. You might. I prefer putting or the shaded areas first, putting all those dark pencil marks down and then using your race off to bring out the highlights. The same with paints as well. Block in a, well, the dark areas and then come over the top with white paint like Italians, at least so we don't have to work. One white using pens probably and hope the best tool for that. But it's not impossibly that you could user stick black market, too get all the dark areas in and then come over the top with a white ink pen to bring out the highlights. You'll see that in or comic book art. The US will block the majority of the dark areas in and then come over the top with why ink pen or white paint? They can do with pen as well. It's not impossible to work in reverse that way. About what your preferences probably made its forehead a little too big. But it's the works, all right. We won't have time to fix any of that up. But everything is still adhering to the directional positioning of our facial features that's going to beam or important. We can get away with making things a little too elongated. If you are, positioning is off. That's when our image starts to look role. If it's wrong, or if something's off, I will pick up on it. If you're on picks up on it, you'll steer it, not paying quite sure what's wrong with that, but knowing that something is wrong with it, So it's a good idea to have a checklist for yourself. Have a checklist of gesture of construction proportion position. It's sort of ticket office. You go along whatever makes life easier for us. Okay, so let's move on to our next, because I'm going to use a charcoal brush for this one. I like using chuckle in real office. Well, it's actually I actually think it's the funnest level. The drawing tools. Could you cause much things get handled dirty. It's a real hands on experience, bit different digitally, of course, but actually do have a fingerprint brush that I use smudging to, somewhat simulated as best I can, a lot less messy. So this Estelle's not actually too difficult. It really adheres to the shape of the head quite a lot, despite the fact that is actually quite Tyga's. Whoa, it's there's a volume to this hair. It feels a lot more ball shaped than the other images, but it's still reinforcing the skull and facial structures underneath. We got this portion of the front that really feels like it's adhering to the shape of the forehead. The forehead is curved and those loose strands at the front that a group together are mimicking. That movement has a sense of railed nous to it. And if we look at the site portion here, we can see that where the heads cut off is really mimicking the direction of the Joel. So despite the fact this hair is quite void matric, it's quite full. It's still emphasizing what it's sitting on. You even look at the right hand side on the side where the lights coming from. There's even a little bit of an indication of about where the you might be. And that's because we have this build up of liars over that initial bump that the year is making. So whatever service you're drawing hair on doesn't have to be human is going to be defined . But that underlying structure to some degree as well as gravity, of course. Just a quick note here, actually on where the hair is potting. It's not always a straight line between the two parts, sometimes, and probably more often than not. It's more of a zigzag pattern, so that's just something to keep in mind. There's a lot of overlapping happening, and sometimes that type of pattern will emerge. That's really just almost another version of that wave. Action that we've gone over got my rough mid tones in Seoul stuck putting some dock areas. And although I probably didn't use the right color for this, it's to light for my liking. The person hate. Unfortunately, this image is actually a really good example of how you could use shadows to define your shape. It's very clear in this image with light and dark area is up, you probably wouldn't even have to blow your eyes for this particular one. So again, we've got our options. It's actually quite clear on the light side as well, Where the shadows are, we've really got these two big areas will, actually three big areas over where shadows are compared to our lights. This huge area on the left who got the bid up the top they with hair is parting and on the rights where the hair is tucking under so you could pencil in the outline shape of the hair first and then map out. The doctor is specifically. You can then do the same for the midterms. Then you can mep out that area and then do the highlights. And that's a process that will work pretty much anything as well. Whether it's hey, whether it's portrait, the whole figure when light hits the surface of something, weaken, break that surface into components off light, shadow and Mito. We'll go over that in a never listen. At another time. We'll do a whole series on call theory, which will include Toid and just take note here what I've actually done with the top you can see her head is actually quite rounded in the reference in regional. Flatten it off a little bit. This is just too ensure. The top of the head is sitting on the same access line. Is there a chin? I would much rather have a slightly flatter top that sits along the same access lines as our other front facial features, then be 100%. True to the reference image. It's about what works for us if we have to sacrifice a little bit of realism for the sake of making the image look a little more dynamic in a little better positioned, then it's worth the sacrifice, right? We'll finish this one up here and move on to our final image, the most challenging one which are left lost. All right, so a big old batch of curly hair to end our time session with one of the most daunting off hairstyles. We're going to use a another wet brush for this one. There's a good chance that I won't be able to get through a great deal of this in the time committed because there's a lot going on with this type of hair. We've got all these small curls which are bunching up next to each other, and this is creating a great sense of volume with the hair structure. The important thing with this type of hair is that we get the overall silhouette in place first. This is the type of hair style that's really going to slow you down a bit because there is so much more going on compared to the other hairstyles that we've covered. The shops that we are working with here are a lot different from what we've gone over. There are a lot more compressed. There's a lot more changes in direction. In fact, it's significantly more, but we need to get this outline shape mapped out first. The other stars that we've seen have shown us directional changes which are reasonably easy to interpret, But when we start getting to something like thes. It's just too much information for us to process. So we have to try and simplify things step by step. And the easiest way to do that is to actually go with our second method that we've talked about in looking to life and shadow as a means of identifying out pots is separating out hair into sections. So this is when blurring our eyes and knocking out all those details. All those curls and strands of hair is going to come in handy for us. Another method we can use if we're working from photographs is we can actually make a small version off the reference in me that we're working from. And what that's going to do is that in a very similar way, too, what blurring your eyes will do is that it will knock out along the details, all those curls and loose hairs, and we'll just leave you with the main highlights and shadows as a means to stock reading your shapes. And even though at the moment I'm really only focusing on the shadow areas, I'm still moving my brush in that wave action. I'm still trying to fuel my way around this hair. I'm still trying to sculpt it, and especially with this type of Hayward's really curly, I really want to get sense of those curls within my strokes, even though that eventually falls. To render this entirely, those underlying strikes will disappear. This type of hair. There is so much movement that it's going to be important to ensure that we are moving out hands in a way that is true to those directional changes. We still need to think about formers wall so effectively. What I'm doing here is that I'm building my form up with those small Y V strikes. This would be similar for if you are drawing anything with roundness to it. You want to feel as if you're moving a hand around that object or, in this case, the hair we can tell with certain parts of the hair off receding towards the back of the shoulder in some parts are moving towards the front. We want to move out, brush around pencil in that same direction. We want to feel as if we are moving that pencil towards the back, cooling it round and slowly building it a lot. And really, what this stage is all about. It's just getting a sense of what that volume is, what those directions are, where the lighting source is coming from. If you want to do a proper rendering and spend three or four hours on an image like these, this is just the first lie up. We would figure out where how forms are and then paint over it again because we now have a a foundation in place that is significantly better. Then, when we originally started from which was a blank page, I just work on this main cone on the right hand side a little bit. We don't have much time left, so I think they will cheat a little bit. Here will extend out time for a little bit longer because I want to work on the other side for a little bit, too. Have been focusing mostly on the shadow outside of the head cause they're going to be a little bit more stopping start another hairstyles, but they do have the benefit of being very gestural and get a nice flowing rhythm through all these different parts of these curls and King said, a twirling around each other. So just takes a little more time and probably a little more. Practice is, well, probably the most difficult hairstyle that you will come across, but definitely worth practicing. That's for certain. So, as we start to wind down now is going to be a file attached to the course notes with all the image references that we've covered in this lecture as well is a few additional ones as well. So practice away, gone through Google images and damn with a bunch of hey stalls to practice with his well and maybe even try to get some of the posts for you as well. Practice in real life images are great and all, but there's benefit to drawing from real life, too. You get a bit of sense of how things move, how things overlap, how the forms of created have things twist and turn. So if you can find a friend or family member that pose even better. So with all that said, I hope this video is beneficial to your ongoing studies and art, and I will see you in the next lesson.