Draw Characters 108 Drawing Hair and Clothing

1. Draw Characters 108 intro New 1080p: Welcome to draw characters 108, drawing hair and clothing. In this section of the course, we're going to take a look at the key dynamics and the knowledge required in order to draw hair and clothing convincingly, I've broken down this content into very simple steps so that you can take the complex knowledge and have a clear path forward to draw any hairstyle or typically any clothing style that you'd like. The good understanding of how the physics and the dynamics of these elements work, as well as the disposition you need to be in in order to draw hair and clothing. As usual, watched through all the lessons and get a feel for the content, and then go through it one more time and do the assignments. This might be a section. We really want to do a lot of practice exercises on drawing here. And I strongly encourage you to use a reference as well. Nevertheless, I'm very excited to teach you about drawing here, the cloth dynamics. So I'll see you in the lessons. Cheers. 2. Fundamentals of Drawing Hair : Welcome to module eight here and cloth dynamics. And welcome to this particular lesson, which is the fundamentals of drawing here. And the first very important fundamental is that of looseness and flow, right? Looseness and flow, being loose, being quick with your lines and being flowy. A friend had said to me many years ago that hair flows. And so should you also want you to apply this concept to cloth dynamics? So when we're talking about drawing cloth, right in drawing clothing, hair and cloth are very much affected by gravity. They tend to have a flow to them and a rhythm. And you want to move your hand in a way using your arms to draw that you're getting these nice smooth lines with tapered edges that have no kinks along the way. Right? Unless it's styled dependent that you really want to draw here in a loose and flowy way. Remember if we draw lines really slowly and we're trying to get flow going, we lose out on the tapering, which is very important here because of course, hair strands are very thin and these type is imply the thinness of the hair. But we also get these weird kinks happening along the way that really doesn't really happen in hair. Hair is really smooth and flowing and it just does its own thing. Of course, We're talking in a generalized sense, yeah, certain hairstyles and hair types have different qualities to them. But in a general sense, we want to be drawing hair in a very natural way and in a very loose way. So please keep in mind looseness and of course, return to those previous modules if you've forgotten those key concepts of looseness, but it is absolutely pivotal in drawing here. Right? Now, Let's get a little head model going over here. And something we want to keep in mind is here directionality, right? What's actually happening with the head direction eddie? What's happening with the gravity over the hair? Now the hair is really like some kind of crazy plant. It sprouts from the scalp, usually everywhere of course. And it kind of moves about in different directions and has a little bit of volume from the sprouting points as it comes up in Bolds on top of the other hairs of gain some volume. And then eventually it's affected by gravity and it gets pulled down the front, the sides, and the back of the head. Alright, so we want to keep in mind that there is this sprouting happening. And of course, you've probably seen people who will brush their hair in a particular way so that they have a middle path or a side path or what have you. And that's a good example of where the sprouting can occur. So something like this might happen. Right? Where the hair is kind of sprouting and then it has to move back over the back of the head. So don't forget to always indicate this multi-directional movement of the hair from the top of the head, going backwards, coming forward, it's going to the side, and so on and so forth. Right? So we want to keep in mind the directionality of the hair and gravity affecting the hair. It's sprouts up and out and then it's affected by gravity. All right, Hopefully they're diagram, it looks a bit insane, but hopefully you get the crux of that. So let's infect, put some notes over here for ourselves. And we will just remind ourselves of looseness and flow. And of course, directionality and gravity, right? In this same vein, don't forget about the wind, right? As well as the angle of the character right at an angle of their head. These things will of course affect the directionality and the way gravity is pulling on the hair. Right? Now, we want to move on to a concept called the hair volume. And this is a very quick shortcut, but it's such a useful thing to know. When we have a head a lot of the time, especially if you're beginning at auto, you're quite new to art style. We tend to want to draw here directly on the scope here. And we want to start going like, okay, there's some hair coming out here and it's doing all these things. But the only time that really happens is when the hair is wet that it is so close to the scalp, what we want to always strive to do is just a few centimeters or centimeters to scale dependent on your character. That's not real-world centimeters as the characters version of centimeters, you want to ensure that that top of the hair is really floating above the head. And this gives the hair a more natural look, right? It's showing off the volumes of the hair in the character. Okay? You can see here how I'm really getting that hair look by being very loose and not trying to overly control the direction of the hair and what's happening with the hair. I have a general idea, but I know that for it to look loose, I have to be looser. Some emphasizing again, looseness and flow. All right? So we wants to keep in mind here volume. And we want to draw the hairline just a little bit above the head right here. Volume, right? The fourth thing we want to keep in mind is that we want to begin drawing here with volumes. Okay, Let's say masses, right? I don't want to confuse our terminology. We want to begin drawing here with masses and shapes, Okay? And what we mean by this is that we want to make sure that we're thinking in a rough and refund saints in terms of workflow. So if I'm drawing my character here, we'll get another head going here. That when I'm planning the hair, I'm not drawing the hair. And when I'm drawing here, I'm drawing the hair, right? I'm not cleaning here. So when I'm planning a hairstyle, Let's say we have a character with an AP style will give her a sad parts. Here, will flow down, will remember the spacing of the hair that we kind of just putting in these big volumes. We're not doing thousands of strains everywhere and trying to get all the little lines to overlap nicely and things like that. We're not really doing that. We just want to plan the big volumes. Alright, so there's one volume there and a big volume here. It's going to be behind the ear. That those are our big volumes. And of course there's a multitude of hairstyles out there, so the shapes and the volumes will look different. And the reason we're calling them volumes is we want to see them almost as these kind of 3D chunky bits going over the form. So I'm going to draw what that one piece may look like as if it kind of folded over the back of the head. And it's this very 3D elements and it has weight to it in thickness to it. Right? So we want to think about the massing in our planning stage, in our refined stage is where we will turn the hair into smooth, beautiful, silky, lovely looking here. All right. Let's clear this stuff out of the way. We want to keep masses and shape in mind. Our fifth point here is we want to avoid over stranding, over stranding one, to avoid over straining. It's very tempting to go crazy with the hair once you've got the masses and the shapes down, it's very tempting to want to go and start like every strand is the strand for everything happening and you've got the mask there and we're putting hair lines on everything. And everything is like super detailed and we want to draw the hair will these lines. It may be tempting to do that. Take my advice, let us not do that at all. He tends to bunch together and group together, right? And because of that, we want to focus on the masses. And then we want to imply the details of the strands. We don't want to draw in all the strand detail. This is very, very important for you to know. We do not want to draw in every single macro strand we want the viewer to see like, Okay, cool, There's a clump of hair here. Okay, Let's just get that Masson. And we're going to draw in a few strands. One, some overlaps there, some lines here just to show the gravitation, the gravity and the directionality of the hair. Some overlaps. And we want to try when we're in our clean up to leave the bulk of the interior of the hair fairly empty, right? When you get more advanced and you've got a lot of practice in drawing here, then you can start deciding how you might want to add an additional details based on the style that you're going for. Maybe you're going for more of an American comic book style where we may end up seeing a few extra strands in the hair, but for now, focus on the massing. So avoid overtraining. Don't go in and strand like hair strands on everything. You'll mess it up, focused on the masses and getting the volumes right, getting the clumps of hair together and reading clearly. We always wanted to think in 3D guys. Of course, we're talking about a very round form here when we're talking about the cranium section, right? So we've got a lot of directions happening. This goes back to directionality, but I want to just reinforce you have to think about, almost, think about this in a sculptural way. How would the hair fall over this cranium area, right? So that is avoiding over trending. As I said, we want to work in the rough and refund workflow way here, right? Rough and refund. And the reason is, most of the time you'll probably find you'll end up detailing forward slash drawing the actual hair itself in the refund stage or in the sort of cleaning up the rough stage, you generally don't draw the actual bulk of the hair in the planning phase. You're just kind of just planning the Herat as you're doing it in the rough stage, you're just creating the plan of the forms, keeping these key points in mind as you do so. E.g. I'm going to do an example head here. And we'll do a more creative hairstyle, will mix up some hairstyles just for fun. Okay, I'm going to draw a female character. We'll draw in a bit of a maybe more of a cartoony style. Want to keep her facial features fairly simplistic because we want to focus on the hair and just give her a slight smile. Let's add a new layer and draw in some here. So what I want to do here is I'm going to, this is my rough stage. I'm going to come in and kind of plan out and maybe some big form here. And we'll give her a long hair on the outside here. Just kinda planning these big shapes, keeping things loose and on the side of her hair, Let's give her some plants. Maybe giving maybe more of a Viking sort of look, give her some plants. And why not also planning a ponytail coming out the back overhead, maybe not that high, and just plan the mass of that. So this is almost like a big bubble. The volume of this, we were to volume it out would be something like that. The volume here of this would be something like this as it comes down. Alright, so we're thinking about the masses and the volumes of the hair. And these little guys are basically little cylinders. So we're always still working with forms in those respects. Alright? And now that, that plan is done, right, when I come to doing that, just make this a little bit bigger. When I come to doing the actual hair drawing on top of this. That's when I can start doing the overlaps, the line overlaps and keeping things very loose. Right? Let's just make this slightly bigger. And we're gonna move into here refund stage on her. And here I can now try to do things in a way where I'm imagining the directionality of the hair. I'm, I'm creating overlaps, intentional overlaps here, where the overlaps helped me bring in detail. So just very loose with my hand. Varying the strands because I don't want to sawtooth, right? I wanted to avoid sort2 thing as much as possible. And I can imply some strands, but I want to keep largely I want to keep the interior area free of too many hairs. And I can just add things as I go here. And these, these little plant areas, we'll just kind of imply some details here. You can see I'm really just putting a bunch of overlapping alveolar forms there to give her here that planted look. Okay, we'll go more into Platts in detail little later on. The key thing with hair as well, more than anything when you get it when you're at this particular stage, is ensuring the overlaps actually read. If you have tangents in the hair, the hair makes no sense to the viewer, right? You can have no tangents. You have to really think about having everything have some kind of overlap, logical overlap happening. So you can see here, even as I do this, I'll do this lawn for detail, e.g. and there's my overlap here where the hair turns. There's my overlap. There's my overlap, Here's an overlap. Drawing hair really has a lot to do in this stage, the refund stage with ensuring the overlaps reads. So e.g. down here, there's a bit of a tangent. Have to enhance that overlaps so that it reads can add extra hairs, but they need to have an overlap. Alright, so we want to be thinking about those overlaps at the stage. But also, once again, I know I'm pushing this point, but you have to understand how important it is. Looseness is absolutely critical when you're drawing the hair. Absolutely critical. It's impossible to draw appealing here I would say without being loose, you will, can draw hair, but it may look a little bit stiff or it may look winery or what have you. Okay, so just adding in these extra details quick just to kind of finish the look a little bit. But looseness is pivotal. Alright? So looseness is absolutely pivotal. And don't be tempted once again to put 1 million lines in here. Alright, so those are our big points of drawing here. Looseness and flow, directionality and gravity, hair volume, masses and shape, avoiding over stranding. And thinking about the rough and the refund stages when you're planning out the hair, donate hair freak you out. I know Hare seems massively complicated. But believe me, if you follow these rules and let me just emphasize this as well, we'll put this as 0.7, especially the overlap rule. If you follow these rules, drawing hair is really easy. It actually is really easy and you'll enjoy it a lot. You'll see it's quite a lot of fun. We've got a couple of more hair videos to gut. These are the core rules. You strengthen yourself in these foundations. You will draw hair well, very quickly. I'll see you in the next lesson. 3. Basic Components of Drawing Hair: In this lesson, we're going to take a look at some important elements of drawing here. And the first thing we're going to take a look at our types of hair, just some general types of hair. Of course, there's a lot of hairstyles and look at ways to do one's hair, short hair and long hair and the style Geld styles and so on. We're going to look at some basic styles and just some core theories about strain types. That'll give you a good start to building up your repertoire. And you can really of course, use reference to try out and draw these multiple hair styles. The first thing we want to look at is people with wavy hair wear their hair tends to rhythmically move in waves constantly. And it's not quite wavy enough to be curly. But there are a lot of waves in there here. The first kind of hair top we want to be conscious of is here that is very wavy. And in this instance, this is more of a female hairstyle though of course smells can have it as well. A lot of times you will see that this is, this particular look is done with the hair straight now, adding extra waves into the hair cell itself. Alright, so we've got wavy hair, alright, and we have a rhythmic waves of opposing curves happening throughout the hair. The next type of hair that we want to look at is straight hair. Straight hair, as its name implies, is for the most part, straight. It lays fairly commonly on the top of the head and it kind of comes down. And it may have a little bit of a wave or two in it, but they're very large, arching waves. And for the most part, the hair is pretty straight. Usually thin hair is like this. It's thin so gravity affects it more easily. So it's kind of because it's, doesn't have a lot of body to it. And because it's thin, it's kind of like a weaker sort of a hair. I suppose. That's not an offensive term. And so it kinda bunches together and it's just pulled down by gravity. It can't fight gravity as much as thicker, wavy hair, canon, of course, curly hair. So it does have a few waves, but the waves are a bit more subtle. And so this is straight hair. And then you get people with curly hair, of course, curls to various degrees. And usually the curliness, well, the curliness could of course cover the whole head. But some people with curly hair, straight hair, that vein starts becoming curly. Curly hair is really defined by consistent and perpetual curliness happening everywhere in the hair itself. I'm just doing more of a directional kind of gods with curly hair. Yeah. But of course you can have short curly hair, long curly hair. And the idea is that the hair is constantly trying to bend and curl. Alright? And we want to show this with a lot of opposing curves happening as the hair is moving about. And this can go even further into small, smaller curls or into here, that is intention and he curled, which usually takes on this type of look to it. You're seeing this bending and actual looping in the strands of the hair happening. So these would be the curls perhaps coming off and girl's head or what have you. Okay. And then of course, we have short hair and short hairstyles, obviously more common in men than women, I would say. It's where the hair has been cut. And because it's been cut, there is no gravity to pull the long strands down. So the hair tends to be spikier, spikes up more if the hair is quite short. So wherever they hear a shorter would spike up more. And of course we're not doing my job styles or anything like that, but it can be rushed back and whatnot. But the key thing to remember is because it's shorter, it has a bit more of a fuzzy to it because there is no additional strands pulling it down. So it will spike up a little bit more. And of course we can go so short that someone has no hair or just little spikes for here. We want to be aware that there are a multitude of types. Now you might be saying, Well, that's quite obvious. But for new artists, especially generally, they tend to draw one particular type of hair, which is the, probably the worst way to draw here ever. And we're going to get to that in a moment. It looks a little something like this. Alright. This is really terrible, really bad. Let's use this model. They'll draw here like this. Because they've watched possibly too much manga or something meant watch too much Enemy Minds you and read too much manga. And they're trying to imitate that particular style by sort2 thing, the heck out of the characters here. And just drawing this very dull, lacking in looseness type of style, please do not do that, right? Consider the top of here. Your character has wavy, straight curly, and so forth. This is short mind you, I don't know why I put straight there. Consider the top of here your character has, and then implement the hair in a logical way using reference where you need to, if you want a particular style or you're just not sure of how that particular hate tap on that particular individual looks. Alright, so that's why I wanted to emphasize this, that there are degrees of curvature in the hair, degrees of spike in the hair based on whether it's short, curly, straight, or wavy. Please do not do this chunky, look. Just get that out of your system right now. Do not do that. Well right? Now, moving on, I wanted to discuss strand types because the top four examples are more about the general curves you will see in the hair. But we also have types of strands when we're building on top of our masses that we want to implement. And we're going to look at four types of strands. The first strand is a pointy strand, which looks a little something like that. And we have another type of strand which looks more like that. And we have this type of strand. And then we have this top strand. And I'm going to label them and explain them to you as we go. So this first type of strand is called a pointy strand. And it's characterized by being broad at the back as it goes back into the mass of hair and narrow at the front, right, It's very pointy, It's very sharp. It looks like a sharp tooth or a sharp spike or something. And that is the pointy stranded top. Next we have the tapering type, and it's called tapering because it tapers at both ends. And this is good for little loose additions of hair, which we're going to cover some basic shapes just now as well, which we'll come back to this one. E.g. if on this first wavy model here wants to put in an extra little piece of hair. The tapering hair type is quite good to doing that because it shows that the hair originates from a small quantity of hair and then fans out a little bit and then it rejoins itself again. Alright, so the second one we have here is tapering. The third top we have yeah. He's a straight strand. Okay. A straight strand or straight group, I should say a grouping of the hair. And it's defined by having a curved shape on the one side and a straight, a curve on the one side and a straight on the other. And if you really are into drawing manga, a lot of manga here is actually defined more by this straight strand or clumped shape that it is by the pointy shape where the characters here might be quite straight and it comes down with a lot of curves against streets like that. Okay. So there's a lot of curve again, straight happening with the straight strand top. Let me just go over these in a different color. Just because I feel like all of the red is making things quite hard to see. And then the bulbous top here is having a massive hair that is tapering on one side and quite broad in the middle, right before it tapers a little more on the other side. Okay. So it looks like a bulb like a bulb from a plant, right? Bulbous. So it's a bulbous top of hair strand forward slash hair clump. Weird kind of comes out. And these are our very basic strand types. I say strand not in terms of individual strands, but more in terms of the mess strands that you'll end up drawing because you want to really draw individual hair strands while you might at times these, but these are the four shapes that we want to start becoming familiar with. It may seem, and I say may, it may seem overly simplistic. But trust me, when you're in the heat of the drawing, drawing hair, knowing that you have these four tools to work with is very useful. So keep hair types in mind and keep these strand forward slash clump tops in mind when you're drawing here. In the next lesson, we're gonna be looking at some basic hair shapes that are kind of like shortcuts. But it's a little foundations that you can build on to get very complex hair designs. So let's move on to the basic shapes lesson. 4. Basic Hair Shapes: In this lesson, we're not going to be taking a look at some basic hair shapes. These are kind of tips and tricks, foundations here, shapes that you can use and tweak to help you build great hair styles. The first thing we're going to look at our single line strokes, not this is very basic. It really is just a stroke like that or like that. And this is used to indicate untidy here or here that is a bit frazzled or fuzzy at points. And you'll see when we get to the demo on top of this girl character here how that can be used. So the first type we want is a single line of stroke for an untidy look, right? We will have these popping out various places of the hair inflow in the logical flow of the hair and making the hair look untidy. The second type of basic shape that we want to learn is something that is called a flick. And it just looks like that. So it's very similar to that tapering basic hair strand shape that we looked at, right? But here with the flicks, you're particularly adding them to sections of the piece to give an area a little bit more extra here, we're a little extra clumps here. So these are just basically lines and these are the flux, alright? And they're quite interesting shapes. They can be straight and a curve. They can both be curves. The important thing is that they taper on both ends so that it appears that they truly are coming out of a section of hair and they're usually behind, they're usually being overlapped. These particular here is not that they can't overlap themselves, but their origin point is usually being overlapped. Alright, the next type of basic hair shape, we have our swoops. It's not really a shape per se, more than something that is happening. But when a character has a mess over here, let's just do an example here. Character has a mass of hair here, a sweep is usually a piece of hair that comes from lone location and goes over and disappears behind another. And it leaves this negative space shape in between here, right? So usually you want a swoop to show that there is a space shape, a negative space shape there, that there is a gap in the hair. And this can be quite fun to do. You wouldn't want to add too many of them, but it's as if the character has additional hairs just going back at different angles. And you can achieve quite a few great styles using this particular technique. Sweeping over. Another top of sweep you get is the front hair kind of sweep. So I'm just going to call this sweeps as well, where the character's head will be here and then the hair will be sweeping over in this fashion. And what's happening is you kind of draw the hair fanning out like this. And it indicates that the hair is kind of moving backwards on the top side. And then it'll usually come around the front again. So that we have this 3D area. In a sense, it's kind of a very con, Vicks area here where the planes are doing this right before the planes then flick over to the other side and it becomes the top side. We have those kind of sweeps as well, and they're just another tool for us to use. We have two types of sweeps, the negative space shapes sweeps with it and pieces of hair sweep over. And then of course the sweeps usually happening in the fringe area. Let's put this here in the fringe area and characters e.g. like rough pencil would have reprisal from tangled. We'd have this sweeps. You had a single sweep at the front of it. I think it's a rod side of her head. She has a sweeper coming down. And these also quite common for doing bangs. You'll see them a lot in comic books and Disney and stuff like that. Okay, so that's the fringe area there. And then our next thing that we want to look at, Let's actually just make these guys a little bit smaller. We want to look at the method if you want. It's just a, it's just a little kind of technique that you can learn and you can of course, then elaborate on it later. We want to learn this curly hair strategy, right? This curly hair technique if you want. Okay, now of course we know curly hair is very curly. But, and you saw an example of this previously. But this idea that we have the hair kind of rotating in on itself constantly. And you can achieve this effect by making sure that your overlaps, mess that one up. By making sure that your overlaps read very clearly. Right? Here we've got, it's just think about this that's going down and around and that's coming down and around and down again. And it requires you to really think carefully about the overlaps that are happening. You get square designs too. So you can do a lot with it as long as you're keeping that overlapping shape. Looking quite convincing as the hair moves into its next section or its next segment. Right? So we want to learn that basic overlapping shape as well to get curly hair and usually This top of curl is coming from straighter here at the top and moving down into this curly hair particular shape. Next, let's take a look at the basic shape of plants, which is a shape you're going to want to learn so that you can jet get a generally acceptable plant out. And there's actually quite a lot of ways for you to do Platts in the hair. But really what you have is this L shape almost where one piece usually is higher than the other. And they basically continuously plugged into each other. Learning this basic shape is the best way to go about it. I'm going to duplicate this just to show you what happens when you continuously draw it on top of each other, right? You can see that it makes a pretty convincing Platt Design. Now there are a lot of ways to draw plants and there's a lot of styles for plants, more loose plants, more tightly threaded plants, plants that have three pieces in them and so on and so forth. But for the purposes of getting this down really quickly, learn this shape, right? Learn this basic shape. And this really is a great shorthand that you can then just keep drawing the same shape in itself continuously. So it's basically these two little angles here, these two little directional shapes. And then you can get peeling flat shapes. But you can also do really free form type of plots where you can kind of just kind of like start doing overlapping hairs over itself continuously and you can get a much more loose type of plant look here. And we can even put one in the middle here and this one can thread through there. So you can do some crazy things. All of it really grounded in overlaps, right? It's all grounded in overlaps at the end of the day. So think carefully about the overlaps and of course, think carefully about the fundamental lessons that we need to learn and really internalize from the first lesson. Alright, but those are some of the basic shapes that we want to know to dry hair well. Now, we also need to be very aware of an important concept called size variance. Now, hopefully, because you should have by now already done the module six lesson on sort2 thing. We're not going to have consistently sized pieces of hair. That looks terrible. It's multiple parallels. What we want to do is ensure that between these three elements, big, small, and medium, we're constantly sizing the hair in some kind of randomized pattern of big, small and medium. So e.g. we do a big a nice big chunk of hair. Yeah, we've done a bulbous shape there. And then we can do a medium, let's say tapering top of here. And then we'll do a small curve to straight here that gives us a very nice random, Randomized look. Now we don't want one to follow that pattern again consecutively because then we're going to have parallels again. But here we might then have a kind of a largish flick top of shape. And then here we can put in a, a small pointy top of here, there. And this is how we achieve a variance in our hair. So size variance is crucial in keeping the hair looking natural, right? We want size variance. Let me just write that down. Size variance. Alright? And all the things we're learning so far is really just absolutely distilled and compressed theory for drawing here. That will have you draw in here hopefully ridiculously quickly, that you don't need to do 500 hair studies to learn this stuff, right? You've got all the key theoretical points right here. Just internalize them. It really is actually as straightforward as it seems. But just remember all those key points from module one. And I emphasize again, looseness. Alright, now let's do a demo here, just implementing some of these hairstyles and techniques happening on this particular character. And I'm gonna do a rough stage and then move into a refund stage on her. Alright, so let's give her, I usually do a lot of side paths. Let's do give her a very far down south side path will make her hair kind of long. And I'm just kind of planning my big volumes here. Let's give her a swoop there, frontier sweep and just do a big volume there. I'm remembering my spacing above my skull over here, right? I want to get volume there. And I'm going to complete that major volume of here. So that's one volume usually personally, I do mainly two volumes of hair in terms of the big planning volumes and then the race.com just wing along the way. Here, let's have this hair tucking in behind her ear. And maybe it comes out at a weird angle here. And it flows down and around. And we'll have some of this hair coming on the Nicaea. And that's pretty much our second planning volume. Okay, So it's kinda coming out at a weird angle. We can add to it just now. Now, before we go and clean this up, I want to add some of these theoretical things in. So let's say her hair is kind of frazzled here. I'm going to just add some here. Frazzled by adding these little hairs poking and you can see it makes her hair look a little untidy or like she's got a lot of split hairs and things happening. All right, So we've done that. And let's add in a flick here that she's got a little piece of hair sticking out just there at the back of the parking will add another flick here. Alright, so you can kind of see the effect that flicks add. And then we can add a swoop coming around the back. Yet we will edit kind of like a flick excepted reconnects. Okay, Let's do another one. Right? So you can have some real fun with the hair. That one hooks are super crazy. Let's keep it in there. Alright, so she's got two sweeps happening and that one's coming around the back one there. And really this is all made possible by the overlaps. The overlaps make this all entirely possible. And let's add in. Why not? Let's add in a curl happening yet. And so we have to think carefully about how this curl is going to look. Usually it as a frontal shape that then folds around to the back shape like that. All right. And let's also give her a flat. Why don't we so when I'm planning plants personally, I like to bring a strand out and in bold the planet on top of that strand, right? I'm not gonna go into heavy detail on this. We're going to bold that shape up just like that. Right? And then do the next version of it And out in the next version of it And out in the next version of it and out, alright, and so on and so forth until we build the entire shape. And I'm going to rough it in here quickly. And you can see I'm going to be sizing this as i, as it sounds, is changes according to the hair strand. That's why I defined the hair strand first. So we can get this look going continuously so that the plants kind of like changing its scale as a twists in the hair here. And of course as the hand gets thinner, alright? And so she's got some really wacky hair style going on here right now. But hopefully you're getting the feeling and let's actually add a straight to hear top of peace into her hair there as well. Right? So we'll bring a straight two curve here piece there. Just to really complete the madness is this particular characters hairstyle, right? Let's just bring it a little bit and focus. He's got a lot of hair going on here. Alright. And so a lot of the stuff that we've done, all these details, yeah, these basic hair shapes I would usually do in the roughened stage and just really being loose and flowy and doing it until it's right, until it works with only the base planning done, right? I wouldn't plan I wouldn't really do a lot of these details in the planning stage, right? But nevertheless, we're going to now refine these hair elements a little bit. So I'm lowering the opacity on that layer. I want to keep my size variants, big, small, medium in account as I come in here to do these elements over here. Alright, so let's first get this sweep done. Quite a wavy piece of hair. And here I'm going to start adding overlaps. But as I do this, I know that I want some size variance. As I'm building up the mess over here, here, right? So there we've gone and that actually looks kind of parallel. We've kind of gotten medium, small, and let's make this one really big and bring it back into a small, all right? And here we're going to show just some of those inner strands of that haze section and then create an overlap here. As the hair rejoins. It doesn't even have to touch. Alright. And what am I seeing? I'm kinda losing my vision here of the hair because of this random headline. So I'm just erasing that. Right? And then these areas that are coming back yet from the back of the head. I wanted it to be clear to the viewer that the hair is moving around. It's moving around the head. So the way that the hair strands come out of the parsing indicates the three-dimensionality of the head. I mean, just, just correct this a little bit. So we'll have that doing that. This is doing that. And here we will want this to come around the front and the side. And note how I'm intentionally adding overlaps to get that hair vibe going, right. It's crucial that overlaps are absolutely crucial. So we're going to bring this hair piece down and I'm adding a little piece of hair there and we can add a curl here. Why not? I'm constantly ensuring as well that this size variance also in the thickness of the strands here. This is one length and then this is another, sorry, this is a little bit wide there, x width there, and then it's a little wider here, and then it's a little narrower and narrower at the tip. And this gives us that dynamic look in the hair will add in that section there. And the sort of straight to curve one's not perfectly straight. We'll bring it up there just for the sake of it. And you can see it's quantity different vibe from having a pointy top of hair piece, right? It's got quality, significantly different look to it. When you do that with the hair. We can add these errand hairs. Are these line hairs coming out, put that flick there in her hair. And other line here, it makes it look a bit messy. Another thing to keep in mind as well as you don't have to stick exactly to your plan. You plan to drawing and that's one of the great things about drawing here. You'll find that in order to stay as loose as you want to stay, you're going to, you're going to have to kind of draw in a way where you're kind of doing the general feeling of the plan. But you're not sticking explicitly to the plan because really in order to keep these lines smooth and loose, you'd have to draw them 1,000 times if you're going to get them exactly the same as the plan, right? So keep that in mind that you have to break the plan a little bit to keep things looking loose and natural. Here I'm going to add in some overlapping lines and some lines there just to show the hairs coming from behind the face. Just waiting up the head here. Just so we have a clear differentiation of what is here and what his head. Right? And over here I'm just going to wait this piece of hair here. And we can kind of build up some of these other layers of hair. Let's get these sweeps in here, making sure I'm negative spaces. Read. Just create that sweep as a little bit thinner. And we can just add some size variants here, little one. And we'll leave it at that and do another flick. Alright, so she's got an insane hairstyle. That's just the way it is. We'll add in a little piece of hair there and a little one, and an even smaller one because we want that size variance. And then the plants, of course, it's going to require some extra work. It's just get, get down into it. And we'll come in here and really just detail out all of these elements of a plat. This is a very tight plate. So it looks quite squarish a lot of the time. But as we've discussed, you can loosen it quite a bit. You do some crazy things with the hair. So as always, as we are realist artists, we are inspired by the world and the things around us. So keep that in mind, particularly with hair. They are constantly changing and evolving hairstyles out there. And if you really want to get into doing some crazy hair styles, you need to research what is happening in the world of hair styling. And I can say though, it's going to be a good idea for you to get used to, sorry, not to get used to. It's gonna be a good idea for you to actually pick a few base hairstyles to go with. Pick a few base hairstyles and work on those hairstyles and kind of get them down to looking relatively correct. And then you can also build on those hairstyles. Here we go. We have an example of a girl with insanely crazy, multiple different things happening. This is the lesson on basic shapes. And I will see you in the next lesson. 5. DEMO Drawing Hair and Hairstyles: We're now going to do some drawing demos on these three heads. I've gone for a little bit more of a realistic style just in terms of the proportions. So the character is a little bit more realistically proportioned. And yeah, let's get right into it and draw some hair. So I haven't really pre-thought these will take it as it comes. But what I'm gonna do is carry on just using the basics that we've learned and getting the volume in there and blocking out just kind of a basic shape, but striving to keep really loose as I do this as well. Thank you. Yeah, We'll just give her a kind of a maybe more of a standard hairstyle. Had an accrual here there. Nothing too crazy. And I'm just kind of, this is more planning, so it's more sketchy and I'm really working in that rough and refund. Top of mine said yes. So I'm not really afraid to get messy as you've no doubt seen throughout the course. I've also done it for your sakes as well, that you don't feel like you're seeing the instructor draw these beautiful perfect pieces of art that you will never be able to achieve. But rather that I've kept things loosen Macy, so that you can also be loosened Macy. Don't worry about the look when you're in your planning phases, right? I think that's good enough planning, it's pretty straightforward. Hairstyles, nothing amazingly spectacular. But it's okay, it gets the job done. I would call that it fits planning. I'm just trying to get some more dynamic shapes in here, trying to see if we can get out. And I just get a little bit more flair happening, perhaps in the curly arrow, something like that. Just so that the shape looks more interesting, right? We always want to avoid those parallels wherever possible. Actually, let's have some hair coming past the Nicaea. That'll look cool. And sort of a little flick coming out. They're just helping myself see the hair direction there. Right. And that would be probably the planning with that hairstyle that went faster than I anticipated. That's okay. I'm just going to make it really light here and I will draw on top of it. I think we're going to go in, zoom in a little bit more here on this one. Not too much. And now we'll do the clean drawing where we're really trying, striving to get the lines down in one go. I may have mentioned this already, but if you're working on paper, you'll want to do a rough, refined rough of this before you move to inking, because of course with ink, if you mess up, it's over already. So what I'm doing here is I'm selectively picking points to draw from. I'm picking these unpicking points, sorry, I'm picking points where I'm actively planning to create line overlaps. So as I draw these lines and I move fairly quickly with my hand, I'm actually going to erase the headline here. It's a little bit, it's a little bit dark. I'm going to just make it lighter. So it doesn't look like it's part of the hair. Right. Carrying on. I'm just going to imply more volumes here by just adding overlapping line coming off that section. And I want to see if I can do something crazy with this line here. Just make it look a little bit more. I don't know. Perhaps it's coming up there, the back of the hair section or something like that. Now I don't know if that's going to work. Right. Pick this one up here, make sure the overlap reads clearly and you see how I can't really state a plan if I'm going to be moving this quickly. So I kind of try to keep the general idea of what I had, but I have to, I have to move very fast in order to keep the flow of the line in there. I kind of just implied some of those strands of the hair volumes there. I just grouped it altogether almost. Right. And over here I think we could do with an overlap. I think in the next demo I'll make the background here, the planning here just a little bit lighter. It just seems a tad too dark to me here. And I'll just bring out some more here there. We can just imply some of that hair strands happening back there and I'm just going to darken the face. Yeah. Just so that it's clear. And also dark in this overlap here, sweeps over the head here. Right? But a lot of the refund step, really, as you can see, is kind of doing things as loosely as you possibly can. So that you're really getting. That flow, right, the fluffiness of the hair down. I think here I can play with the shape a little bit. We're going to go in and around, maybe, something like that. It's a little bit straighter. So the other side's angle is that in the Sun's angle might be a little bit more flat. Can add more volume, but we will keep that flat theme going. And I'm adding overlaps. What we can do here is I'll add an overlap like that. Bring this piece around. And now we can see two sides of the hair chunk almost right? So kind of gives us a nice 3D feel. It's a little bit parallel here. At the end of the world, maybe try and break the parallel little bit with another overlapping line, something like that, will pull out some kind of flip care making sure it's tapering both ends. And I'm going to erase the NIC line. And one of her Nicaea just because we are going to overlap the here right over that. And I'll pull that piece of hair here in. And I've turned this from a pointy basic shape into a bulbous shape here at the end over here, which is something you can do. You can really go crazy once you have the basic shapes down, you can go crazy. And let's now get these best-case sections in. And really I'm creating a lot of the time. I'm also creating opportunities for overlaps to happen. You want the viewer to feel like there are these masses that continuously overlap one another. As the hair comes down. Here, we'll put in that little piece of hair paralleling at the end. You want to make sure it type is nasty. And I would call that one yeah. I'd pretty much call that one done. Now if you want to go for more realistic hair, right? So obviously, this thing is a little bit messy. We've got the planning lines were a little bit too dark. We wanted to erase them a little bit more. But if you wanted to go for more of a realistic look, because this is of course more stylized. What you would do is you would increase the level of detail, also called that you may have heard of this term before, loud or allo deeds, just obviously an abbreviation of level of detail. You increase the level of detail in terms of going into the strands, going into the chunks, you'd still do the chunks to go into the chunks, e.g. and you would kind of detail them out a little bit more. Just add more overlaps into the chunks and into the strands. Here I've got some hair pieces. I would add more overlaps in here and maybe I'd have a piece of hair coming out here and so on. But you want to make sure, as we've mentioned previously, you don't want to put stranded lines in the hair like this. Because the minute you start doing that, the viewer is incapable of seeing the overlaps and seeing the masses. All they see is this mess of lines. So you want to be very careful about how you go about that. Make sure the overlaps read and that the overall massing reads as well. Let's move on to number two. I'm going to give her a, let's say, a more spiky, kinda funky look. I think I'm going to usually I try to imagine where the hair might be spreading from. And I think perhaps for myself, it's habit to start on the right or the left hand side of the face with a parting there. But you can start anywhere really. They could have some kind of potting in the middle or the hip. Good start sprouting from from the middle of the hair or anywhere really. I mean, obviously it's sprouting from a bunch of places. Here. I'm being careful because these two, this one and this one are really similarly sized. So in the third one, I made it quite thin. In here. I'm going to strain that a little bit. I want to get some volume happening up here. Just kind of planning out the general shape. Just kinda go to a bit of crazy hair going on to have some gravity pulling some of it here, there. I think going with this trend of the hair kinda flicking to the right a little bit. And then over here we'll have it coming down into its own shapes. We're using a lot of that bulbous shape really to shape the hair here. And because their hair is short, she, she's going to have a bit more of a spiky vibe going on. And when you're doing these types of hairstyles, really you have to be careful to vary the waiting. Like yeah, I'm trying to think like what shape could have plugin that would make sense. In this section here, which I'm feeling like I'm not sure exactly what I should put there. Considering all of these hairs are coming out like that, That seems okay. So in a sense, we've got this kind of star shape happening up here and then it kinda rolls around this way, right? It's just give her a bit more volume on this side of the head here. Trying to keep those shapes varied can be quite tough. Just planning it out like that. I almost imagine like she might be someone with hoop earrings. Alright. Just with this type of hair cell RNA. And actually let's just give her a bit more here. Here. This looks a bit weird. There's no here in that section. And of course you can add layers on top as well. So you can actually go in here and add even more layering. This is just an example. I'm going to keep it a bit more simple than this. You could add layers over here in there. So you can build up layered hairstyles quite easily. Just bolding layers of these really loose strokes into one another. Right? So I'm just seeing how I feel about it if more or less is kind of the overall shape reads well and it feels decent. That seems pretty good for plan. I'm going to lighten this up quite a lot compared to the previous one just so we can see the head drawing of it better, the overlaps and stuff a little bit better. Right. That's pretty light. I'm going to her head here as well. I'm going to just lots of new headline. Alright, just lighten it so that we can get a nice clear view of the hair on top. We're going back to the hair. And again, going back to lesson one of module five where we're talking about rough and refund. You want to have a mindset shift. Rough. You're planning, refund, you're being creative and loose and free and really just building on what you have done before, right? So you kind of decorating in a St. so think about that mindset shift and get into that zone if you will. As you're doing this. Can see here, I definitely don't stick to plan, although I think I may need to be not more closer to the plan here, but at least more aware of the directions that I'm going, I don't want to break the directionality that I've established, already established in these hair pieces. And as you're doing this, you will find that actually drawing has pretty, can be pretty fast and really can be a pretty fast process. Especially the stage, because when I'm placing a particular line down, It's generally it's finished, right? It's done for good. I don't have to go and do tech crazy texturing on it or super dimensionality on it. And do crazy forms and do like really complex things. Once it's done, it's done. I'm going to make this piece of hair look a little bit more fluffy. And you can definitely introduce some layers that kind of the hair, the hair is crazy. It's going to do its own thing sometimes. So there I've made it a point in the opposite direction. We've got a bit of a tangent happening. Yes, so I'm going to erase that and probably erase this line because this chunk of hair came past that line there. Maybe getting a little bit too high. I can add some little bits in here if I want to. You can see I just changed the hair design. They are completely, it's all good. Right, and we can just imply some of the roots, this section here. And let's get these sections and asymmetry, something we're going for. Big theme, we're doing here. Those two guys mirror each other. So we went to avoid that kind of a bit of mirroring happening there. So my job now is to try to get some variants in here. And you can bold overlaps quite easily by simply just overlapping the lines. So if I need some kind of variance here, I can just introduce and overlap into this section. So e.g. I. Can just pull out an overlap here, e.g. and it suddenly makes the whole shape look significantly different. This is really a crazy hairstyle. Is really got some crazy going on here. We're just pulling some here plus that ear. And it will pull some here, here like that. And that would be that for that hair cell pretty much wouldn't do too much more than the hair. Depending on the style. Style dependent, wouldn't do too much more. I think for the last hairstyle, we can actually go and do a bit of a modern type of cut. Well, we'll see if it's how effectively I could achieve this. Look. And I'm thinking something like where we design the chunks like this. She's got a piece of hair that hangs on there and a piece of hair that hangs down here. And then her hair cut is kind of stepped from the back, comes down like this and hangs here and it's kind of more hair is more straight in this scenario. And she's got bangs basically coming off the front of her hair. They're straight cuts. I've seen this cut. It's tough cuts around trying to get the basics of it in. Just have to think about that roundness. Roundness of the form of the cranium. Maybe put a little here. They're just give it some diversity. And we can, we can infect, cover this whole ear with a here. I'm going to erase the year out. Lots and debt headline. Once again. Take your whole ear out. Rice. And we just wanted to rough in the basic shapes. So she's got this piece of hair here. And we can just add a couple of years that want to keep this kind of flat as if it's been cut to be very flat and very straightforward, I say. And we can just add a little bit of possess to that section. They're linked, looks weird. We'll keep that one is fun. I'm just emphasizing to myself that in fact this fringe is going to have to have some kind of line here. I think, where it's definitively coming out, it's overlapping the rest of the hair. This bang section almost. Just erase that kind of stepping happening here. And work in enough detail that you are confident that there is enough information for you to draw on top of in terms of the hair, right? So you wanna make sure there's enough information for you to utilize when you're wanting to draw on top of this angle of the head there. It looks a little strange. Let's keep it a bit more round here. Possibly have another hair coming out like that. Little bit messy. But it's okay. I'm not sure if necessary this hairstyle suits this particular character's face. But why not give it a try? Right? And I feel like wouldn't be a bad idea to have some piece of hair coming out the side there. Alright, and that would be the planning for that. Using all of our basics, all have a basic fundamentals. Latin it quite nicely here, quite a lot. In fact, let's draw the final lines for this hair. Using using the god underneath. You can see I tend to, depends how clean I want it to look the lines I may undo quite a lot or just a little. This particular shape here is quite nice. It's very indicative of more straight hair. In terms of how straight the straightness of the hair, the weight of the hair, and the thickness of the hair, and how gravity affects it. As long as you're working your overlaps, keeping it overlaps working. It's very hard to go wrong as long as things are clear that overlap, so clear, it's very hard to go wrong. Just keep your own loose while you're doing this. I cannot emphasize that enough. Pretty much in everything in all that we're doing. Looseness, even if you're talking about painting, looseness is incredibly important and it's not an easy to grasp concept. Looseness in the word, I think it's a semantic problem. But the word that it just doesn't allude to something that everyone can imagine what looseness is as if it's some kind of solid objects, like go and buy some looseness. But hopefully you guys have learned by now that it relates to both the dynamism in your shapes, that they have directionality. Of course, physical looseness in your arm. So that, you know, to move your arm loosely to achieve this feeling of flow. Right? It's just adding some of those overlaps there. Just add a bit of a hair overlap up there. We can add a little one there. And let's do the fringe sort of bang area thing. I'm not really a hairstyle Pro. I wonder particular style. I will just Google it and see what type of look I'm trying to achieve and try and get close to it. No need to achieve the exact thing. Just get close enough that you will convince your viewer that this particular characters hairstyle is a particular way. This overlaps pretty important there. And we'll bring that up there. So he has been cut straight there. It looks a little bit dull here, so I'll add a little extra here there. And probably, yes, we're covering the ear here. I'm just erasing some of the head. We'll bring in some hair here. All the hair has to flow in some logical way. Don't forget about that. I want to add just some kind of extra overlap there. Maybe another one here as the hair comes from behind the head. And we'll call that one completes. So here we have a demo of three, sort of just kind of made up hairstyles. We've got a shortish style to shortish styles, and then a medium length one. And we've been using the fundamental theories and everything we've learned so far. I hope you've enjoyed this demo and I'll see you guys in the next lesson. 6. Drawing Clothing with Cloth Dynamics: In this lesson, we are now going to be learning about cloth dynamics and the seven clothing folds types. Now we're not really dealing with clothing design, but really the dynamics of how cloth works and moves. This, of course, it does vary a little bit based on the material that you're using. But generally speaking, you can apply this to most types of cloth used for clothing. Alright, so let's get right into it and talk about cloth dynamics. Cloth really is very similar to here in that it really is impacted a lot by gravity. And as such, we need to consider the direction of gravity affecting the cloth, right? So we want to consider the direction of gravity. And in this as well, we want to think very much about squash and stretch on the fabric itself, right? We're just going to talk about these concepts a bit and you'll see the application of these as we go through each of the seven types of folds. Another important point that I want you guys to take it down and it's one, it's very, very valuable. It's very simple, but very valuable. Is that generally speaking, when coffee beans, it never has a sharp point. Generally speaking, it generally always bins and a round angle. So when you're doing clothing folds, you generally don't have very sharp bins like this. You'd have more of a rounded band and that will make your clothing folds look more realistic and less flat. Then the last thing we wanna do when we're thinking about cloth dynamics is ask ourselves, where is the point of tension, right? Where is the point of tension? And the point of tension here is really relating vector, squash and stretch in the direction of gravity as well. In terms of where is the cloth pooling based on the form that you're putting the cloth on. Alright, so where is the point of tension? Lost the knit me add something obvious, but I want to say just so that we're really firm and what we're doing, that really is nothing more. Then of course, almost, almost a very kind of 1D object in a sense, obviously it's 3D. But for the most part, cloth really is just very thin and we don't attend to double line draws unless we're talking about thick fabrics. In light of that, clot clothing takes its form really from the underlying forms. So if we wrapped cloth around a cylinder, the cloth is going to take the shape of the cylinder more relaxed, of course, based on the fabric type and what have you. And so I'm reinforcing this so that we realize the clothing has two naturally follow the contour lines, follow the contour lines of the underlying anatomy. Okay, so we want to keep that in mind. If we don't follow the contour lines of the underlying anatomy, the clothing then looks very flat or like a sticker or really detracts from the three-dimensionality of our piece on right? And we really don't want to do that. We wanted to, to look 3D all the time. So now we're going to move into applying some of this theory. I'll put these notes to the side so that they're always with us. We're going to apply some of these theories by looking at the seven types of folds. Let me list them out before we draw them. Just so that if you are taking notes, you can write them down as well. And then we will go into them. So when I put them here, seven folds. And really a dynamic look in clothing and realistic clothing look is more about how the clothing is falling on the body and folding and wrapping around the forms than it is really about the design of the clothing in terms of drawing it in a believable way. Alright, so our first type, pop folds are second tub or zigzag folds. Third type of spiral folds. Fourth type of Aflac folds. Fifth top are the unfortunately named diaper folds. Sixth type or dropped folds. And our last type, or inert folds, right? Inert, meaning inactive or not really moving. So inert folds, right? So let's get into it and we're going to start drawing out folds. We're going to start with plot folds. So apart folds rarely occur when the fabric is being draped, usually from a, usually add quite a length. So a good example is thinking about curtains. And when the fabric is draped, thinking about that gravity direction, fabric is draped. And it's keep it simple for now. We won't put any folders in here, right? Assuming this is a curtain top of draping, right? These are the points of tension here. And I will continuously draw in points of tension as we're doing this. So we get a good idea. Gravity will pull down and what will happen is the fabric will start based on the points of tension. We'll start coming down into these pop shapes, right? And taking on a very cylindrical form as this is occurring, and it will rhythmically move in and out, obviously an OT, we will want to vary what is occurring there a little bit. In terms of the rhythm, we wouldn't want them to be all exactly the same. And so here we get our pop folds that follow the contour of a cylinder in and out and in out and in and out consecutively. And OSC, this one goes into us, not impossible. And in an S, this is essentially a portfolio and it's named like that obviously because it is somewhat like a pop. So long dresses, e.g. will take on the look of a pop fold. Let's bring a dress design down here. And I'm kind of keeping that looseness and that fluffiness that I have when I'm drawing here and that we wanted to have when we're drawing here. Let me just draw that ellipse more than normal angle. And I'll plan out the basic shape of the clothing. And then I will insert the pop folds, but creating my waves. As we go. I can even add one here on the outside with an overlap and then bring in these lines up. And it's all about the overlap here again, just like it is in here. And therefore achieving our pump fold look in this type of cloth, thinner types of cloth teams to pop fold more easily while I say thinner but also heavier, because they'll wants to change too powerful. But generally, you're looking at longer cloth that tends to pop fold as gravity is pulling down in the fabric gets heavier. So this is essentially our, our pipe folds here. Alright? And you will see this commonly on long pieces of fabric, curtains, long dresses, and generating materials that are quite long. Alright, so those are our pop folds. Let's move on to zigzag folds. So zigzag folds on named the way they are because the fold kind of works in a zigzag pattern, very much like this. Now, where you would use these types of folds. And you'll see as we get into some demos here, is generally at the ends of sleeves, long sleeves as they come down to the wrist area. You may also want to use them with fabrics compressing like pence, compressing down against choose e.g. and anywhere you feel that the fabric would be compressing in such a way as to create this effect. It's sort of a medium amount of compression would cause a zigzag effect. So what happens is you start having the folds kind of poking out like this and note how they don't mirror each other, right? So we're not doing zigzag folds like this with a sawtooth thing mirroring each other. And we will then want to kind of connect the fabric in a way that we're showing overlapping lines as the fabric is compressing. So this is a zigzag type of fold because maybe the fabric is compressing down here. Also the knees. Sometimes the knees on certain pants will compress. So let's do some examples to show an example of this. Let's say I'm drawing a sports jacket. This would be the risks section. And the players pulled this leaves. Just pause the risks to the middle of the forearm. E.g. I. Wanted to show the compression of that fabric occurring. And so I'm going to come in here and I'm going to zigzag this leaves a little bit. And what I can do is I can use this shape, which you'll see as a common fold shape. And of course you can make derivatives of it to show indentations in the fabric. So here we will pull these overlaps in a zigzag folds. Okay, he's pulled it just a little bit app, it's compressing a little bit. We want to bear in mind that we are on a cylindrical form with the arm. So we want to have the contour lines showing very clearly. Okay? And then anywhere where we feel the fabric may indent, we can input one of these little shapes, right? Where it's kind of a shadow and you can really just a very them and do whatever you like with them. Usually it's drawn where the shape doesn't just simply close, but it overlaps one of its own lines there, right? And this helps us indicate areas where there are deeper folds happening in the fabric or creases or crinkles to varying degrees. So I can just put in a couple of these. The key thing to remember with fabric is it's not an exact science. Cloth really does whatever it wants to do. So you can't really sit there and control every macro element of how you want the fabric to look. Rather straw for a natural look. And by natural, I mean, pretty kind of almost random keeping things a symmetrical. So here we can see in the sleeve section here, we've got that zigzag effect happening, right? Let's do another example where we may be doing a pence leg is coming down from the knee and maybe it's bunching in the knee a little bit. So we can start off with a zigzag design. They're imagining the leg anatomy underneath there. And it comes down. And as we get to the shoe, we can start putting in some of these zigzag shapes for the compression as the Pence compress on top of a shoe. Just make this a little bit smaller. Okay, this person's leg is at a bit of a strange angle. Let's just keep it a more of a straight angle. And this would be the front of their shoe down here. Just kind of roughing that in the pencil, compressing the wrapping around. And we have the zigzag pattern showing the compression happening. So once again, we're emphasizing our overlaps. We're making sure we've got a zigzag top of look in there. And usually the Pence depends how begi the pens are. We could have some really nice deep little shadows occurring as the pencil get this zigzag effect happening in them. Right? And once again, we have the zigzag fold. This is a type of fold that occurs once again on pence genes. Areas where we've kind of got medium compression, where the, there is a medium amount of compression happening. And I would contrast that with the spiral folds, which we'll look at next, where you have a lot of compression happening on the fabric. The fabric takes on a little bit more of a spiral look as we will see. Right? So this is zigzag, top of fold and ready to get good at drawing. This stuff is really just drawing it and just remembering these rules, asymmetry. And of course these rules here are quite key to just implementing these basic folds types. Also you would do well to really just memorize these seven full types and use them where you need to. You don't need to make clothing. Drawing clothing overly complicated for yourself. Just memorize them room with the basic rules. Be loose and off you go. The next type of fold we're gonna be looking at our spiral folds. Now spiral folds move in this type of way. Whoops, it's just draw that a different Ni, the kind of constantly spiraling in this sort of pattern. And this is due to heavy compression. And this is when someone pulls up their sleeves, e.g. that's the most common era you see it or wherever the fabric is being compressed on a cylindrical form. Quite, quite a lot. If there was a sleeve on here and we pushed the sleeve all the way up, we compressed it to half of its total length. We'd get spiral folds happening. Kind of looks a bit like a spring or one of those vacuum cleaner hoses. So let's do an example of that. With the spiral folds, we tend to use a lot of these shading shapes on the fabric. You'll see here. Let's do a sleeve again. And of course, I'm doing very basic clothing here. But this could equally apply to perhaps stockings being pushed down or socks compressing such comparisons is an excellent example of spiral folds. When the, when the socks have fallen down or compress it down. So really, you want to apply these theories to a bunch of different things. Alright. Here I'm going to plan out the folds. I'm trying to keep them more asymmetrical. I don't want them to be to the same on each side. And I also wanted to leave room to have some actual clothing lines in there so it doesn't look so robotic as if it was designed to be in this spot really kind of way. And maybe as it moves up to the shoulder, Let's just say the cloth moves up to the shoulder here. We put some overlaps into show the cloth overlapping over itself. Maybe the spiral folds will come to an end, right? So we're really compressing the fabric here and we're contouring the lines. Alright, so now I'm going to just draw in a much clearer silhouette to these spiral folds. Keeping my overlaps nice and clear. This folding there, there's one there. Keep striving for asymmetry as well. And we'll draw one there. Alright, and because we are having this compression, we want those shadows in the little shadow indicators. It just really helps sell the idea of how much compression is happening on these types of folds. And once again, be loose B-natural, especially be natural clothing. As I said, it does its own thing. So don't try to control it. Just compress it as you think it needs to be compressed, considered the material top right, and work from there. Thicker materials, of course, may not compress as easily as the new materials and so on. So you might have more neat looking compressions or more rough looking compressions based on what's happening with the fabric. Alright, so here we see a spiral fold, typical marks of a spiral fold. A lot of compression and a lot of these little bumps, ages occurring as we move through the spiral as rotates. And of course, a lot of these shadow shapes in here as well. So those are our spiral folds. Rice do hope you're taking notes as we go through this would be very useful for you. Let's take a look at how Aflac folds now. So when it comes to half luck folds, particularly, I'm not entirely sure why they are called half luck folds. I've never really investigated it. But the idea we want to have with her flock folds is that on one side we're having compression occurring on a form and I'm drawing an arm here that is binding at a 90-degree angle. This is more of just the model of what's happening with defaults. So we have a compression happening on one side, and then on the other we have a stretching happening. And because of this, we get a lot of tight folds occurring at the point of tension here with a fabric is pulling in at this point over here, causing these fold lines to appear that we see on the inside here via point of compression. Okay, I'm just putting in the words that expansion. So we really getting it. And our tension wouldn't be here, right? And so areas you see a half-life folds are generally points of articulation, right? Points of articulation where our limbs can move. The actual joint areas where they move, is where we will see these types of folds occurring at the points of articulation. So e.g. I'll do a sleeve example. If we have a man wearing a collared shirt, e.g. in he's bending his arm a little bit. Draw the arms section here. Maybe there's a button there or something. And he's bending his arm. It's going to emphasize some of these overlaps here. And the fabric starts rapping over itself and being pooled as his own bins, right? And we get these whole flock folds characterized really by the overlapping and the directionality toward. The point of tension. Alright, so that's really what we would do. They would do this in the same area on the legs, obviously the back of the legs, and also areas where the fabric is very taut. And actually that brings me to a point that I want to talk to you about. I'm going to do a small diagram here. When people draw genes and Pence, particularly at the crotch area. A lot of the time, the fold lines here are drawn up like this, right at the crutch. And then the pen sort of carry on very tightly down. And this is actually not correct. It looks bad, but it's also not correct. I've emphasized that crutch for one thing which can look super weird at tons. But that's not actually what happens with the fabric. Because underneath here we have the 3D cylindrical like links, right? So when you contemplate the actual forms underneath, the correct way to have these pencil lines drawn. And I'm going to just do a quick example here. So here it would, we'd have our legs coming down and he has a crutch. And suddenly we can have a line or two showing the crotch, of course, that we're going to add those overlaps there to show what is in front, what is behind. But in terms of the point of tension here, the point of tension is not actually just spamming out all these fold lines from the crunch. With Pence, they tend to come out at a horizontal angle here. Right? Horizontal instead of this V-shape. So we get this v-shaped, That's incorrect. We want them to come out horizontally at those points of tension on the rounded forms, right? And this would be more correct. Alright, so those are our half luck folds. There are overlaps on one side of a compressed cloth section that is over form. And because the other side is really experiencing stretching or expansion, right off luck folds. This twice already. I apologize for saying again, looseness guys, you've got to be loose and you've got to be natural. You can't control exactly what it's gonna look like. I know it may seem like I'm having extreme or supreme control over what I'm drawing here. But really I'm kind of guesstimating and letting the lines kind of go where they want to go so that it looks natural because I'm drawing it in a way that is natural. Okay. So let's keep that in mind and looseness, looseness, looseness. I'll try not to say it again. Alright, let's move on. Next type of folds, very easy kind of fold. Darpa folds, poor portfolio name there, right? So with darpa folds, when a piece of fabric is suspended at two points, this is usually when it happens. And I can show you some cool examples where you might do this type of fault. It's assuming this is a square piece of fabric. Alright? So gravity is pulling down and we're very aware of it and we're thinking about gravity. Pulling down on that. The two points of tension here cause the fabric, of course to stretch a little bit there, which can indicate with some lines. And then as it comes down into the middle, it causes a C curve to occur. So I'm going to draw in some of these C curves. And they, you have a Diaper fold, a very realistic looking fold in the cloth. Because this center of gravity comes down here. The biggest weight center of gravity comes down here. And so we get this C-shaped curve happening in the middle of the cloth. Right? And while we're on this before I do a demo of this, let me say that folds once clothing, drawing cloth is very similar to drawing here. So don't be afraid to just draw a particular shape, e.g. I'll just draw the square shape here. Then erase a corner e.g. and take it and just do a random overlap. And boom, we've just controlled the cloths. Overlap right side. Now suddenly looks like we've got a piece of cloth wrapping there. And we can do the same here as well. We're just going to draw a shape like that. And now we're controlling the cloth. It's not very hard and you can keep the shapes really abstract looking. You don't need to control them, right? So it's not exactly going to be the most amazing example of a Diaper fold. But e.g. you may be drawing a tablet, which is a piece of cloth that goes over the front of a knight's Alma, representing his guilt house or what have you, right? So the tablet would usually be, it would be kind of designed something like this. We were looking at it from a top view and relate on a table place for the head. This area wraps around the back. This area wraps around the front. Usually there's some kind of logo design on the front of it and it just hangs down. Alright, so if we're doing a tablet, e.g. because we've got the two points of tension on our nights shoulders. We would have the fabric hanging down, something like that. Actually, we would combine it depends how long this is, but we could have some pitfalls at the bottom. But over here at the top, we'd have some so-called darpa folds occurring, right? As the tablet hangs over the nut, right? Otherwise, the cloth just really is characterized by this C-shape. So there we have our diaper folds. Suppose if you're not in the United States, that wouldn't be a nappy fold, which makes it sound like ten times worse. Anyway, let's move on. We're gonna do drop folds. It's probably the easiest form of darpa folds, drop folds. And with drop folds we have a single point of tension. Imagine if you were hanging your tail on the hook, on a hook in the bathroom. So our cloth kinda comes down and this ton of bunches at the bottom. It may even pop fold at the bottom. And what we have is the drop folds coming down here, these tension lines showing that there's a lot of tension at this point of tension here, this hook area where the cloth is draped from. Now you could use this for all sorts of different things. Perhaps this is a character and let's say some kind of embroidery in her hair, some kind of cloth in her hair hanging down. E.g. but what characterizes it is that we have these lines here coming down from the point of tension. And in the cloth hanging down and overlapping it's self. So these are dropped folds. Let's do a cloth, e.g. et al e.g. just pretend we've gotta tell hanging over a hook, I'll draw this one a little more detail. But really all of the skill in enjoying clothing is just very, very much weighted towards or you just contemplating your overlaps properly, right? So the hook is under there. We'll put a little shadow line there. That little shadow shape to show that our kind of tell this holding there. We will have some lines here. Put some shading in there. Really, we don't need to worry too much about shading and have it coming down and will overlap another piece here of tell, have that coming up and maybe it wraps in a bit. Comes around that going there, there. And bada bing, bada, boom. We've got our tail on a hook in the bathroom. Pretty much nailed down. Right. So that really is our drop fold. Okay. Awesome. And last but not least, we're going to take a look at our inert folds. Now, just keep in mind that inert is referring to inactive. The word inert means inactive. So there are folds that are just there because of probably some energy that occurred at some point on the fold. You typical way that this is illustrated. The typical example is a bull, is a cloth covering a bowl. So here is where we would use those shading shapes quite a bit to really emphasize those folds. But of course, we're also relying on overlaps. So e.g. here I will have imaginable underneath a piece of cloth, Jordan an angle. And the cloths kind of rolling about. Let's make it a square piece of cloth. And it overlaps itself at some points. Maybe it builds up trying to keep these sharp points so that we still feel like it's a square piece of cloth. And just creating some overlaps their eyeballs under here. So we would have dropped fold like lines as the fabric kind of That's its way down over the ball. But then we have these other folds that happen where the cloth bunches up on itself. And we can then add some of these shaded zones just to emphasize the sort of scrunching of the fabric. And these types of folds would be called the inert folds because they're not really the result of any kind of tension or gravity on them at present. They just kind of happened at one point. And so they just continue to just stay there. They maintain their form, right? And these are inert folds. All right? So that is that for cloth dynamics and drawing cloth. And if you follow these basic rules and you do a bunch of practice, you will be pretty good at this pretty quickly. I think this isn't really a one of the most complex areas of drawing, to be honest with you. Something I would advise you do is really gear your eyes up to observing the world around you much more than usual. We have to escape the world of the Mughals, so to speak. And really get into a zone where as artists we're observing everything around us. Really close, that we're zooming in on everything. We're focusing on everything. Why is this the shape of what is the shape of this when it's in this position or that position and clothing learning to draw clothing well is going to rely a lot on how well you can see how well you are observing the clothing around you and how it moves and how it works. But the seven folds are a very, very strong foundation for you to get drawing clothing pretty quickly. Well, right? That is the end of this module. I'll see you guys in the next module.