Transcripts
1. Introduction: Hi, my name is Celine
and welcome to this class on painting
hair in procreate. In this class, we'll be
going over both straight, curly and textured hair, as well as references
and use of brushes. You'll be completing
exercises for each type, both smallest samples
and whole hits of hair, learning how to draw
and shade them. This class is made with
beginners in mind, what can be enjoyed
by all levels. So get out your iPad file, procreate, and
let's get started.
2. References: For this class, we'll be using these three reference
photos that I found on pixabay.com and
Andromache.com. The sides of her pictures
that are free to use, both personal and
commercial use. So all three will be available for you in the resource section. Style wise, we
won't be going for photo realism for this
class, but still, use of reference is just as
crucial for learning to draw hair as it is for any
other part of our anatomy. Even if you're going for a more animated or
cartoony style. I do know it can be
a little annoying, always needing
reference to draw and how sometimes just want
to draw from memory. But think of it like this. Drawing without
reference makes your rely on your own memory
index of things. But unless you have purposely studied the
thing you want to draw, you just don't have
all the information stored to get a good result. This goes for mental
and emotional memory. So whenever we use reference
and purposely study them, you add to your memory index, thereby making it easier to draw without reference
in the future.
3. Procreate Hair Brushes: Procreate comes
with three brushes, specifically for hair,
under the tap touch ups. One for fine hair, flowing hair and short hair. Although the idea of
these brushes is great, I do find you need
other base brushes to get a convincing
hair look in the end. Only using these
brushes on their own will be a very
time-consuming and can end up giving
you a strange fairly look if you use them in
excess all of the hair. Something I learned the hard
way along my art journey. Therefore, we'll be using a few different brushes
to get you going on the way to find your favorites photo in different
types of hair.
4. Straight Hair Intro: Masks and things to note
when drawing straight hair. Firstly, although it
is indeed straight, it is affected by the curve of our skulls and
whatever else touches, such as the shoulders, making it curve accordingly. Secondly, straight
hair tends to have less volume than curvy
and textured hair, but that doesn't mean it
doesn't have any at all. If you look at the
parting of the hair, you can see how the hair rises above the curve with the skull. So when you draw people, keep in mind the size
of the skull and how the hair should add a
bit of volume to it. Another thing to be mindful of is the direction of
the hairs growing. The hair growing from the top
of the head is technically going straight up before curving over the
shape of the head, then hang down freely. This sense of direction
is important in how we draw and shade the hair
to get it to look lifelike.
5. Straight Hair Brush: Frustrate hair. I find that you can get by
with just a single brush. For me that tends to be my
favorite blending brush that I made using a shape
from the Procreate library. I've added it as a download in the resource section so you
can give it a try yourself. Otherwise, a flat
or round brush with pressure sensitivity
enabled will do just fine. I also said both
the eraser and the smudge tool to whatever
brush I'm painting with.
6. Straight Hair Exercise I: Let's start with some blending. Select and fill the square
before alpha lock the layer. Normally blending can be
made simple by placing in a darker color and then using the smudge tool to fill out the edges and create a gradient. However, when drawing hair, you don't want to have a
completely even gradient and most certainly not a
straight horizontal one. Instead, placing strokes of color in there
section of the hair, gradually loosening pressure
to feather out each stroke. Then use the smudge
tool to go up and down, still in the direction of the hair to fade out
any harsh lines. This will drag
down the dark tone and drag up the nitrile one, making a more lively gradient useful for illustrating
darker roots, for instance. So to recap, placed
on a base color, use loose strokes to place down the darker tone following
the direction of the hair. Use the smart tool to track the two colors up and
down for lively gradient.
7. Straight Hair Exercise II: Now let's practice
shading straight hair. Start with a log square in
a base color like before. Pick a darker tone and
use a light hand to place down feathery strokes following the direction of the hair, but not making
them too straight. Adjust the size of your brush to make bigger or smaller areas. Then pick a lighter tone for highlights and work this into the areas between
the darker color in the same feather refashion. Should you end up
with any harsh lines? You can use the smudge
tool to blend them out. Just don't go overboard as we don't want it to end
up looking to smooth. Also be careful not to
completely cover the base tone. This is essentially the way we will be shading
straight hair. And of course, using our
reference as a guide. Let's recap. Place
down a base color. Use light strokes to gradually
work on a darker tone, following the
direction of the hair. Lighter tone in
the center manner without completely
covering the base.
8. Straight Hair Full Demo: Now to tackle a full
head or straight hair. Here are drawn out of face using our reference domain of small palette of colors
that I'll be using. This will be available
as a base for you to practice in
the resource section to make a new layer on top of the face
to keep things easy. And start loosely sketching out the overall
shape of the hair. Keep in mind the shape
of the skull and the how the hair should add at
least a little volume to it. Like mentioned previously. I use my blending
brush to sketch into and they don't
feel the need to use another loose stray hair has
an overall simple shape. So when you have
it sketched out, make a new layer
on top for color. I use the selection tool with a fill function to get
down to the base tone for the largest areas before zooming in and manually doing
the edges with my brush, I feel the most
control this way. I move the hand sketch on top to get the smallest
areas downright. If you like linework
in your art, you could refine the sketch
earlier and keep it on top. However, in this case, I'll be leading the sketch
once the cornerstone. This hairstyle is simple enough for me to
navigate without it. After removing the sketch, we're going to set
the color layer to alpha lock so we don't have to worry about painting
outside of the initial area. We're going to use the
blending from exercise one to get the darker shades of the roots is color and place it down in strokes
that follow the hair. In this case, we have
to follow the curve of the skull and the head drapes from the part
and down over it. Then use the smudge tool to
work the two colors together. But keep this much tool at a smaller size to keep
the streaky look. The reason for this
is that no hair on their heads grow in
the exact same rate. So outgrowth will never
be a complete shock line, Norris smooth gradient unless
a hairdresser has made it. So. Next, we're going to tint the areas of the hair. That overall isn't
the base tool. The reference the
heck catches most light on the top of the
head, making it lighter. And it appears to have
been bleached and died MO cool tone
down by the end. To communicate this,
we're going to pick these two colors one
at a time and use a large brush size
and a little pressure to get them down in the
areas where they should be. Stomach show you strokes photo the natural
direction of the hair. Then use the smudge tool to
lightly blend these tones in. But again, just a little. Now's the time to add
more definition to the, the two strands of hair that
make up the hair as a whole. Use the technique from
a second exercise. Pick the darkest tone and a small brush and start
from the root of the hair. Use light strokes in the direction to define
different strands of hair. Use a reference
for general sense of where the line should go, but don't get too
stuck on making it exact as it will
still look like hair, even if it isn't perfect. The aim for this
demonstration is to end up with something that
is recognizably straight, shiny hair did you can build
upon to find your own style. Whenever you start
to feel anxious of messing up the work we've already done in the color layer. You can just make
a new layer on top and set it to clipping mask
to build on top of it. This way you can return
to the colony later, but now work in a
new layer that also only affects the initial
shape we made for the hair. I made the next layer
of getting down the first round of dark scripts. But you can make as many
layers as you want, which is part of the
perks of digital art. In both the middle tones and
then the highlight tone in the same streaky manner referencing our image
to know where to go. One of the ways to make
the hair look right? I find is to never
have a solid area, just one color, but
always have them broken up by streaks
up other shapes. Even in the most
highlighted area, we want to have
the darker colors peeking through from underneath. To add a bit more
of the darker shade in the non highlighted areas. I went back to the
first color layer and brush it in there. Then I returned to the top
layer and zoomed in to make even smaller strands of
highlights with a smaller brush. You can of course make
a new layer for this. I keep it separate if you want. The smallest range will
give more definition to the hair and keep it from looking too blurry
and blend it out. Also look closely at your reference to see
if the darkest area of the hair in case the roots has some variety to
them and add that in. This keeps even the darkest
areas from looking flat. As the final touch, we're going to add
some individual hairs, make a new layer, but
don't make it a clipping mask as we want to have the hair school and
beyond the initial shape. Take your brush I'ts style to a very few pixels and
add single hairs, the corresponding color
to the area you're adding them to buy their roots, there'll be dark, but in the
links they'll be lighter. We don't want to illustrate
every single hair of the head as the camera nor our eyes can see sharp enough to actually see them
unless extremely close. Making many stray hairs will also make the hair
look a little messy. So add as many or
as few as you want. I didn't make as many
as a reference has, but just enough until it
registered nicely as hair to me. Makes sure to make some crossing the different strengths of the shading as this makes
them stand out nicely. Single Harris also makes the inside of the
hand look more real. From this point, you can
define an add as much detail as you wish to reach a
desirable look to you. I'll be ending line here to
keep it accessible beginners. You can build on top of this
to your heart's content.
9. Straight Hair Recap: Let's recap. Drawing straight hair. Sketch out the basic shape, leaving space for the
skull underneath. Fill out the shape
with the base color. Lay down the dark is colored by the roots in the
direction of the hair. And blend was much tool
going up and down the hair. Tint the highlighted areas with a big brush and bent lightly
with the smudge tool. Use a HDAC histone to lightly
define different section of hair with light structure in the direction of the hair. Use the lightest
tone to add define strokes of highlights
to act definition. Single hairs in
the corresponding corners around the hair.
10. Wavy Hair Intro: Unlike sweat hair, curly
and wavy hair, Hestia, individual shapes, depending on the
genetics of the person, on the shape of
their curling iron. It makes for a more
complex hairstyle to draw, because even if the hair
is called together, pretty hair catches light more prominently and each
curl often stands out. Compared to straight
hair way we have, we'll have more volume from the site of the
face and downwards, but not necessarily much
more at the top of the head. Shape of the head,
combined with gravity, would determine how the
curls draped down over the head until they can hang freely in their preferred shape. Just like when drawing
straight hair, the direction of the hairs
important need to draw the hair in the right direction going down and execute
them looking natural, each girl has its own coil shape that can merge together
with the risks, making for a lot of
visual interest.
11. Wavy Hair Brushes: For drawing wavy hair, I find that adult we didn't need any more brushes than for
drawing straight hair. Fathers class, I will
once again be using my favorite blending brush that you can find in the resources. However, as a little
bonus end for, I'll direct your attention
to the brush called flames under the tab elements. As the name suggests, in basic smoky flame like
stroke that I've used a lot in my personal artwork for making flowy moment
sort of hair, although we will be
using this brush today, I said I would show it to you to illustrate how hair
can be drawn in different ways depending on your desired art
style and technique. But for today's class, I'll be using the
basic blending brush.
12. Wavy Hair Exercise I: Let's build upon your
previous exercises. Start with the log
square and use the darkest tone to draw
some curvy lines to it. Then pick the highlight color and use light strokes
to place it on the peaks or the bottom of the curves in the
direction of the curve. Use many light strokes. Next, a middle tone, and place this on the
side of the highlight, still following the
direction of the wave. There too dark is
called as co closest to the lines to help
separate each wave. Finally, you can use the
smudge tool to gently go over everything to smooth
out any harsh lines, but don't go overboard
with this module. We'll lose the sense
of definition. To recap, start
with a square and a base color and use a dark
color to draw wavy lines. Paint a light tone on
the peaks of the waves would lead to strokes in
the direction of the wave. Use metal and darker tones in-between to get the
waste definition. Lightly smudge
everything to blend.
13. Wavy Hair Exercise II: Let's define our
waves even more. Working directly on top
of the previous exercise, use a smaller brush
size and peculiar. Now, go over the area
of the color again. Start using light strokes and following the direction
of the hair, the wave. The goal here is to add definition and a
sense of structure. Slave individual strokes visible when transitioning from
one color to another. Walk your way through the
other tones in the same way, either one by one, I'll switch between while
focusing on an area. Stuck, keep the darkest
tone to find in the sight of the wave to
get a sense of shape. In the end, we
have a gradient of colors with visible strokes, getting the feel of a wave separating into smaller strands. So we can work on top of
the previous exercise. Use a smaller brush size and the visible strokes follow
the direction of the wave. They paint the colors
according to the base. Maintain the darkest
areas for definition.
14. Wavy Hair Full Demo: Now let's draw a whole head
of way we slash curly hair. Again, I start with
a face sketching and a small palette in
each cell layers. Make a new layout of
the face and start to sketch out the most
basic shape of the hair. Don't worry about any
individual kills at this point, just a simple shapes. So we can see that the hair
is proportionate to the face. Once you're happy
with the proportions, then go in and start defining
the girls in sections. I started at the simplest side, defining how the
curls call away from the face before separating
into silver kills. Be a bit confusing to keep
track of so many strands. But you can, if I were needed and just draw
the oval shapes. I find it easiest to focus
on either a small section at a time or follow a single strand of
quills all the way down. So don't get lost
in all the details. You can always go back
and correct an area if you feel like it doesn't
fit with the rest in the end, don't kick yourself over not following the
reference to t. As long as you can
keep the sense of direction in the
girls that you draw. It'll look like hair. When you're happy
with the hair sketch, make a new layer underneath
to put down our base color. I stopped by selecting the
biggest areas and color dropping Before going along the edges manually
with my brush. Since I need my sketch
to guide my shading, I go to the hair sketch
and Alpha Lock it. It can change the color
too much or color scheme. I then go around
the edges and erase anything that is
messy or stick out. So I can merge the sketch
with a base chronic cleanly. But you can keep the sketch
separate if you want. What's the two layers
have been merch, I still went to the halide, that is tuning of a line. Simple way to make it look
more natural is to use the smudge tool to drag the
hairline up and fade it out. Now let's alpha lock the layer
and go on to the shading. Just like in the first exercise, you're going to pick
a lighter color than the base and start working into, into the areas that are
raised and catch most light. Photo the reference
to see where it goes, but keep it rough and
loose at this stage. Just I didn't the
exercises always direct your strokes to follow
the direction of the hair. Next, pick the color
a step darker than the base and place
this in the areas getting little light on one side of the part
underneath the girls. This will help
transition us into the darkest color that will go into very darkest parts on the opposite side
of the light source. Time for more highlights, pick the very lightest color. And place it sparingly at the most highlighted areas
to read and make it pop. Then it's time to blend
using the Smudge Tool. Good, lightly, being careful not to watch the colors
competed other, just soften the
transition between them. And that concludes the base. Make a new layer on top of the base and make
it a clipping mask. This ensures that we don't paint outside of the
initial color layer. Here we're going to
define the strands. Just like in the
second exercise. Choose an area to zoom in on and use a smaller
brush size to paint strokes in the
different colors according to the reference. I started with one of
the easiest sections, circuit ease my way into it. You can go from light to dark or dark to light as you please, and find your own rhythm. Just like when painting
straight hair, we wanted to convey how the hair separates and gathers into different strands
along the way and how strange from
underneath peek through. Again, you don't have to follow the reference to strictly. Just use it to get a sense of the reaction and which
scholar you should use. I find that having my loose
strokes be sort of random, but in the right direction, it gives them more flowy look. When I tried to
follow each line of the reference and end up with a very stiff looking result. In some sections, we can see inside the code of
some of the curls. And here it's crucial to pay your lines following
those coils. Whenever I feel overwhelmed
by hair section, I split it into even
smaller sections so I can focus on a
single-strand or curl. This way I can work
my way through one piece at a time
without getting lost. If you do end up
getting lost in shading one curl like another,
don't sweat it. Overall, it looks
nice, just the same. When you look at
the bigger picture. I move my color palette around with me for the
different sections. So I didn't have to zoom
in and out to cut a pic. This is why I like having a separate layer on top
with my colors in it. Though, painting in the
darkest colors be a little intimidating
because it stands out. But it's actually a good thing. Having a good range of values, meaning how light
and dark things are, really helps to shape and
bring dimension to a drawing. When we get those dark lines in, we really show
depth in the girls. Study the reference to see when there might be
called a migration. Even in the darkest areas, as it helps to bring
visual interest. Once we worked our way all
the way around this layer, we'll get into the
final details. Go to the base color layer
and get out the eraser. Mine is set to the same
blending brush as I feel. It makes everything
more cohesive. Now go around the ends of
both the strands and erase in light structure
wherever they look too chunky or are indeed
your broccoli. Some pills have little
openings in them where we can erase to let
the background peek through. This makes for more
area in light look. Finally, it's time
for individual hairs. Make a new layer
on top that isn't a clipping mask and lower your brush size to a few pixels. Rather Harrison fluid strokes following the flow of the hair. But sometimes going a little off to make it look more lively. Pick your colors
from the palette or directly from
the hair itself. Make as many or as
few hair she wanted. And then the wavy
hair is finished.
15. Wavy Hair Recap: Let's recap. Drawing
curly or wavy hair. Sketch the basic shape of the hair before
defining each curl. The shape of the hair
with base color. Light strokes to place down colors in the
direction of the hair. Use a smaller brush to go
over all colors again. And at definition, erase any
ends that looks too chunky. Add individual hairs for detail.
16. Textured Hair Intro: For me, textured hair is by far the most
complicated style. Just like wavy hair. The shapes, I'm much more
elaborate than straight hair. And on top of that, the texture adds another layer of
interest to the eye. The shape of textured
hair when will lose, can be massively
different compared to straight hair due to
the natural volume. Straight and wavy hair hangs. Textured hair can hold its
own and stick out from the head in an almost gravity defined way which
is really cool. Besides the oval shape, we can also see strands
and quills individually, both adding more to the
center detail and texture. The shape of the
crystals can be both very uniform but
also more organic. So study your reference to
see how it kills behavior. Once again, we have to pay attention to the
direction of the growth. In order to illustrate
the curls properly, there must be some
sense of order and direction when drawing a
hairstyle blacks this one, because otherwise
the hair will end up looking senseless
and a bit messy. To keep in mind the direction of each strand or section of hair.
17. Textured Hair Brushes: For textured who will be using two different but very
basic procreate brushes besides my trusty
blending brush. Firstly, we'll be using a
texture brush called Grunge. Found under the tap textures. It has a rugged
squared shape and it may at first glance
cover off very sharp. But when used in
circular movements and with varying pressure, it gives an almost
fluffy kind of texture, which suits our
need for the style. Secondly, we'll
utilize one of the hair brushes called fine hair, found online in touch ups. The shape is a series
of dots that in US gives us a little bundle
of individual hairs. I choose the fine brush. This is the two others and
procreate as a field that suits the look of tight and
texture kills the best. Finally, my basic
blending brush is just to use to get the basic shapes
and around the face, but could easily be substituted with the
symbol round brush.
18. Textured Hair Exercise I: For this hairstyle, we will not be relying on
the smudge tool. Instead, creating our blended
shading with the texture of the grunge brush in circular motions and
varying pressure. Put down a flat medium or dark BCE TO then pick a lighter
color and gouache. And he woke out on top doing soft circular shapes and starting with very
little pressure. Then build up the opacity by
slowly adding more pressure, but in the same
circular strokes. Then move on to another
color and do the same. Results should be a
somewhat soft blend, but still with a sense
of texture to it. To recap, lay down
a flat base color, choose a lighter color and work it in with
the grunge brush. You circular movements to blend and go from light
to heavy pressure. Repeat foreign meaning shapes.
19. Textured Hair Exercise II: Now we'll be using
the fine hair brush. Practice making
swirly curls that aren't too uniform but
still has a sense of shape. Once the initial shape is down, go over the curves again, the smallest strokes to emphasize optionally using
a smaller brush size. Then pick a lighter
tone and emphasize the tops of the curves
was more strokes. The additional strokes both add color and density the strand. Now try to make a
smaller curl using a smaller brush size in
the same manner as before. Instead of adding a
ladder color to the, the curves, choose a darker
tone and edit to the bottom. This essentially gives the
same results as before, since Docker caught us, retract and ladder
colors protrude. Finally, tried to
make general hair texture by making loose, swirly shapes with
the lash brush size all going in the same direction, but not being uniform. Don't worry about it
not being opaque. Just get down a nice texture before adding a
lighter color and overlapping the first to
create a gradient. To recap. Use the fine hair brush to
make curls that onto uniform. Use a lighter tone to add in small strokes on
top in each girl. Repeat, but at a darker tone to the bottom of
the curve instead. Usually lash precise to make loose curly texture
overlapping two colors.
20. Textured Hair Full Demo: Let's draw a whole
head of textured hair. The face, and pedigrees. We go to sketch out the very
basic shape of the hair. All we need to survive shape and proportions compared
to the face. But don't worry about
making anything detailed. Once the basic shape is down, make a new layer underneath image and fill it
with a base color. Selecting and color
dropping the biggest areas, but around the face where we
need a bit more precision. I'm using my basic
blending brush. Now for the outer edges. Get out the crunch brush on the textures and
using light pressure, fill out the remainder
of the basic shape. Use rounded movements and varying pressure to
fade out the edges, but don't make it even
all the way around. We want individual strands to stand out and add
interest to the shape. Delete the sketch
once you're done with it and set the hair
layer to alpha lock. Now use the darkest color and the quench brush at
a large setting, lay down the shadow
around the sides of the face and the bottom
part of the hair. Use light circular movements like we did in the
first exercise. Next, use the lighter mid-tone to add variation to
the top of the hair, keeping the strategy going in the right direction
according to the reference. Again, we don't need to follow the reference down
to each detail, but just to help guide us. Go back to the darkest tone and lower the size of the brush. You can help define
the lighter parts by laying down
shadows beside them. Now for some highlights, use a lighter tone
and go over some of the sections to bring
more life to the hair. Use very imprecise his to
make it look less uniform. For simplified style, you
can leave it that this, as we have a nice sense
of texture going on. Time to make a new
layer for more detail, used to find hair brush
in a small size to define individual quills in a tone that will stand out
against the base. Use an even lighter
tone to highlight the tops of the curl using
many small structure. Just like in the
second exercise. For areas where we can see
a lot of single hairs, they don't gather into strands. Use a bigger brush size and make swirly current emotions with light pressure to
cover that area. Switch between a few colors to make it lively mixture. You also focused on the
curls pass the edge of the hair we painted earlier to help define the shape even more. Gold with a hole
here in this manner, adding as much
detail as you want. But be careful not to go overboard as it can turn out
looking a little chaotic. The reference, we can only see detail on the top and
front of the hair. Shall we should keep
ours to that too. Although we don't want the
girls to be too uniform, the direction of the curls are
crucial to a natural look. It's always make sure
that you draw them in a believable direction
according to the reference. For some final adjustments, go back to the base
hair layer and correct any colors to work with a
curse with added an article. This is only if you
feel it necessary. That's this hairstyle finished.
21. Textured Hair Recap: Let's recap. Drawing
textured hair. Sketch out the very
basic shape of the hair. Fill in with base color. You should texture
brush for the edges. Darker and lighter tones with circular motions
and lie pressure. Use fine hair brush to
add additional curls. Adjust base layer if needed.
22. Final Thoughts: We've been through
all three hairstyles. It's your turn.
The class project for today is to complete the six different
exercises and have a try at one or all
of the hairstyles. Believing my face sketches and color pallets in the
resource section, along with the references
and my blending brush, should you want to use them? Thank you so much for
taking this class. Should you want to see more? I have other Procreate classes
you might like on my page. If you want to see more
of my personal ad, you can find me on Instagram
at saline dotty dot art. I'll have a look
at my Etsy shop. Have fun creating
and bye for now.
Celine D., Digital Fantasy Artist
