How to Draw Hair - Analyse References and Stylize Them

1. How to Draw Stylized Hair: Hey, how are you? My name is Bia and I'm an illustrator and conten creater from Portugal. Did you ever have any with difficulty in getting hair, right? Well, fear not my classes here for you carries a big part of my work. I use it kinda as second character. It's very magical, it's very alive and it's very much part of the picture. In this class, we are going to be talking on how you can analyze and then adapt hair. And then I'm going to show you how I draw hair in my own style in a more in-depth way. The goal for this class is that you at the end, are more comfortable with tackling and analyzing hair and then you are able to adapt it to your own style. I do here very differently from traditional to digital. So this class will mainly focus on to the additional part of it. But if you would like me to do a digital one, you can always reach out to me and I'll try to make it happen. So if you want to know how to draw hair in a more magical way, please watch this class and I hope you have fun. See you there. 2. Welcome to the class: Hi there. I'm glad to see you can make it to this class. The first day of this class, we're going to be looking at some photo references so you can try and analyze hair. I'll leave those images down below so you can follow along after that, I'll also talk about, so my references sense, I think those are very important to learn which style you're looking for. And also, it's a great idea for you to build a library of references of other artists to see what inspires you. It goes without saying that we're not trying to copy anyone else's style, but just tried to pick and choose what you like about those styles and try to incorporate it in your own unique style. After that, we are going to start drying the hair. I'm going to be using watercolor paper and watercolors. You can use whatever you wish in terms of mediums, whatever you prefer. It really doesn't matter in terms of the applications since I'm going to be talking about values and not as much as the material itself. So right now if you want to just follow along, I just grabbed a sketchbook or even printer paper. And just follow along as we analyze hair. 3. Looking at references: Welcome to the first part of the sculpture class. And so to begin, we're going to be analyzing some types of hair. Before we actually start drawing. We are going to be looking at hair. And then we're going to be sort of tracing. Not quite, but we're going to basically study the shapes of hair, real hair. And that will allow us to then look at hair in a different way. We're going to be looking at this closer in procreate in a second, but see that hair has a very tendency to just flow one direction and then just twist where it once It's very organized at same time slowly. So heritages kind of wants to do flows and it just kinda wants to be in clumps. One of the mistakes that I've seen with people started drawing hair is they do individuals trends. And that can look very messy. And also it can give the look very unprofessional. Harrison's, it's a very rough mistake. Even with hair like this, you see it has a shape and even the spiral shape it, of itself. It's a very organized yet flowy shape. So we'll be looking at, trying to draw this in a second, but now we're just trying to look at here. This is the same type of hair, but again, you can see the shape it goes. It naturally wants to create a shape and this is where you should really just analyze photos and hair and try and figure them out. Just swoopy shapes and all in clumps. This is a Cloud, this is another one, another one, another one. After you then see that you sort of know the basics of hair. That's when you can start stylizing it. If you know my work, it's very flowy. Long hair. That kind of just feels like it's underwater. And actually a friend of mine really pointed out to me that I was really influenced by the studio clamp. If you don't not clamp, it's one of the students that created, for example, contractor Sakura, things like that. So looking at examples of clump hair, if you know my work, I can try and put a label here side-by-side. It's very flowy, very wavy. And so you can take instruments or elements from other places, other creators that you like and try and implement it to your work. It's never okay to just fully trace, but it's good if you want to practice seeing how the person draws and then tried to implement that your work. And you can see this is the thing that I most enjoy. And this is how I tried to incorporate the magical myths in hair. Even with straight hair is very like. It's very nice to use hair to frame the image. So, yeah, this is just, this hits me right in the aesthetic for me, sort of this out of the way. We are going to go to procreate and we're going to start breaking down the shapes of those images we saw earlier. 4. Analysing references: Okay, so here we have four images of the different hairstyles and different looks. And so what we're going to do, I'm going to just group all of these and I can even make them one layer. I'm just going to lower the opacity. Where we're going to be doing is just kinda, I'm just going to use a graphite pencil. What we're going to be doing. And I don't, You can also do this traditionally, I only did this so you can see what I'm doing sense when I draw traditionally, I have a very, very light hand and you will not be able to see anymore anything that I was doing this, you can just easily see what I'm doing. So starting with this first hairstyle, it's pretty simple to see that it's just sort of a box and it just wants to do this. So when we have that, when we just follow the shape, it's pretty easy to see just like that. And this could be your hair. If I remove this, It's pretty easily recognizable as hair, so it's very nice for you to just lockout shapes, see where they go. And then you just start refining things like that. Doing little strands here, they're really helps sell out the fluffiness of hair. Sometimes I like to break apart shapes, for example, you can see here one bit of hair is out, but they're still connected. So if you just do this little bit here, it can really help give that illusion. And then of course not all Harris super straight on lab sheets cut that way. So just doing this and this really helps. And so if I take this, it's a pretty passable head of hair, if I may say so myself. So that's one type of hair. And then with this one, it's super simple since all the hair just wants to go to one direction, so we are just going like that. And then the shape principle shape is basically like a pair or teardrop. And then you just do this. You don't have to do every single hair. And if I remove this, see, and that's so simple, you are not doing individual strands. You're going with the flow of the hair. And so it's pretty simple. You start from the root and then you go this direction that it's going, in this case, it's going this direction. So it's going away from the face as well. That also helps in this case. So braids can be a bit tricky at first since late can be more confusing, since you have so much happening. But in this case, this is a very big brave. It's very easy to just pick it apart. So starting this shape and then one in the middle there. And then you basically just do like they just keep crossing and chorusing and crossing. Just like that. You can already see the shape being there. You don't need to do like every single one in the new just start going with the flow of it. So after that, it's pretty simple, just going and then the flip. And that's a great super simple. And just with super easy shapes for me, I like to be to use more flowy shapes, but if it's your styled, use more geographical shapes and geographical geometrical. Me, use this image better because I accidentally raise it here. So if it's your thing to do more geometric shapes, especially in this type of hair. You can totally do that. So it's easy to see that it has a mark apart here and then just goes here. This type of hair is a bit more difficult to represent only with lines. I find it much easier to represent with paint. If you want to do just geometrical shapes. Let me do here the face so we have something to work with and I remove it. That's, that's the shape of hair. With this type of hair, you can start doing like little, little kernels here there and then it's much easier to just block out. So for this example, I'm going to use this brush and lower the opacity and just going like that. Not that low. So just going like that. Going where the shape, the shadow is, that already itself helps give the shape the hair. And so if you then start giving the shape, the roundedness of the curls, and then just do one hero there. You soon will have a very natural flowy hair. But of course he then it depends on how you want to stylize going with this type of air. It's very nice to just Use the shading of its sense. Doing all the individual corals can look quite busy and it can also be quite tricky. So with this type of hair, it's much easier. I don't usually do this type, but I do love doing. Read logs are really, really fun. Sends, especially with how I do them. I just do like for example, we have your face. And so there are drugs, I just start them like this, just to the roots here. And then they're just like little sausages, kind of just like playing them with them and then one coming out here there. So you can really play with her hair is just something that can give character to a person, personality or character. And so this is pretty much how I just start breaking apart here. And so with this, we are going to go to do the sketch. Again, I might do the sketch here in Procreate since it's much easier for you to see. And then we're going to transfer that to watercolor paper. I'm going to be teaching you how to do hair in watercolor. But if you want to see this in digital one day, let me know in the comments of the class. So I'll see you in the next step. 5. Sketching: I don't always use the reference in this case, since we are just trying to recreate hair. And I want you guys to see how I actually use reference for this case, we are going to be using this reference. The hair would look pretty much nothing like it when I'm done, but that's okay. So we're going to start with a profile here. So I'm actually going to be flipping this reference just because I feel like doing a profile that way and that way you can see it better. So just quickly starting with a profile here. This part doesn't really matter, so I'm going to speed this up. So that's a basic profile image. No need to be anything crazy. Heavier than that. Shaving. Yeah, That's good. I'm just using this reference to show you how you can use it. But like I said, I use references really freely. Let me just create here a space, or I can just put the reference image out of the way. So I'm just going to do like a sort of a bust here. That's one of my favorite types of trying to make and one of the signature signs that I usually do now that I wait, I need to fix this year. It's too small. Okay. So one of the signatures that I like to do for hair, for me is to deal with b bits here. I started doing this, and now that I started to analyze it, it's something that lots of characters from clamp have. So I've just embraced it. And so we're just going to take the bands here from this curve, this 40. And we can use clips. No problem. I will do some declarations of the hair. So just taking this yeah. As you can see, I'm not following the reference at all because the reference drawing the hair goes very down. And even what I'm doing straight hair, I enjoy that it's going to go with a very flowy kind of way. So the flow of the hair is always going a bit like it's floating. I quite enjoy doing that like this. And so this is pretty much the basic shape of the hair. So the next part, we're going to refine this with more lines, but we're going to actually lower the opacity of it. And I'm also going to lower the portrait one just to make it easier, we are going to start to refine this properly. And so I don't usually do a super heavy line work. I quite like to do the defining of the hair with the colors that I'm going to use. So this is just going to be guidelines for me. I like to break apart the hair and little sections. And then if I'm able to do little wispy things, I really enjoyed how that looks. In this case, I think I'm actually going to connect this bit to the back of the hair because I quite like how that looks by mistake. So deleting this little bit here, I'm going to do a big scoop. And another one. Like that. It's nice to divide the same strand. So this is like the front part, this is, would be like the back part. And so as you can see, I pretty much already changed the design of the head. It's pretty okay to just change your mind in the middle. And then here I kinda do a little shadow already. And this part is pretty simple. It's just a normal hair. I don't do lines straight from the top because I find that quite heavy or at least the same lines I can do, maybe one or two, and that will be it. I don't like to do a lot of lines that go all the way. I find that quite heavy, but that's just my personal taste. And this bit will be connected. And I quite like if I'm doing the shoulder for some hair to be on the front as well. Feel like that frames it very nicely. That this bit is kind of in the dark. So going back here on the Tibet continuing that line is not good. It's a good trick to just try and do one single line. That's just something to learn while the sketch, instead of doing lines like this, like continuous line, this looks very messy and not great. Learning to have confidence strokes and especially in digital, since you can go back and just try to use your whole arm as an anchor to do lions will really help you in the long run, and so on. Just keep doing this. This part is overlapping, it's totally fine. Especially in digital. Don't worry about it. It's completely fine. So her arm is like here. I just want to remind this. So this part will be dark and this part as well. So I like to do sometimes. So this is basically the normal shape and then I like to add some that are more or flowing. Just a breakaway the shape and to give a bit more magical feeling like she's floating or underwater. I really enjoyed it. Look and you can tell it break apart the hair inside that looks very nicely. So here we have the net just to hear the shape of the bus, the shoulder here. So that's a pretty much basic shape. And then like like in the same side, I think they did this even straighter than I wanted it. So I'm actually going to add more hair. I like a very full head of hair. I think just looks at very magical. And again, we're just building hair here or there. You can see the lines don't really have to make a lot of sense. There's not a method, a mathematical formula for this. Liquid TV's look very different, but this is how I interpret this. So of course it will be really different for you. And then I just like to take some bits. I really enjoyed doing these little too close lines together. I think they look very nice and they break apart the shape nicely. And then, yeah, just a few dark bits here to just give more shadow. And this is pretty much our lines done. Let's just add a few details. I'm going to add since the fall of reference, have this little clip. I am going to add. Yeah, sure. I'm going to add a few clips here. Why not? I don't usually do a lot of accessories on my characters, but especially in the hair, at least clips like this. I like to do flowers. So more modern assessors are not quite usual or my work, but why not? Let's do this. So now we are going to transfer this to our watercolor paper. I'm going to show you how I use my iPad as a light table. If you have a light table. 6. Transfering the sketch: Okay, So I'm going to grab my sketchbook. This is Canson XL mixed media paper. This is a handmade sketchbook that I made myself, so nothing special. And what we're going to do, I'm going to go to my almost let fade to actually get this trick. We want to make it so your iPad does not react to you. Big issue that I have while using my iPad to do as a light table is that it actually reacts with my hands. So it's moved all over the place. A neat trick that I actually saw on dicta is you go to settings on your iPad. You tap Accessibility. And then here on the bottom you have the Guided Access. Here on on mine, it's on. You just have to turn it on. And then you set a passcode so you can just turn it back and then shortcut, you also have it in. So basically, what we're going to do is we're going to make our canvas as big as you want. And we're going to brighten at as much as you want. And then, so we're going to go to your homepage and you triple click it, 123. And that gives you this. And you click on Start, and then you enter your pass code. Money's just 1, 1, 1, 1, and then basically it's not responsive. And so I have it on the brightest setting. And I just put my paper here and I have a light table. So I'm going to use a colored pencil. Nothing crazy. This is just the Staedtler crayon arrogance off. It's pretty simple but it works. And so I'm just going to take as well some washi tape to stick these in place so they don't move. So one here and one here. And that way it doesn't move. And it knew sticky tape. Mine is already old. I keep them here on my side so I reuse them, but these ones are pretty old. Already. Suggests two bits here. Nothing crazy. Okay. So for me I can see this just fine. Hopefully you can as well. I'm just going to trace this quickly and then we are going to start painting. Okay, this is traced, so we're going to remove it king at the sketch. It's pretty simple. I was very light with it since I'm drawing on top of the iPad, I don't press a lot on the pencil. That's a pretty simple sketch. Now that we have this, we are going to get our watercolors and start painting. 7. Painting the Skin: Now that we have our sketch all done and transferred on watercolor paper, it's time to start actually painting. This next step is going to be time-lapse since it's only the skin, but still enjoyed the process. And C might be interesting for you. Hi. 8. Painting the hair - First Value: Welcome to this lesson. So you just saw the progress of the skin. I just decided to do a speed over speed paint of that sense. It's not really what we're talking about. But if you are interested in learning more about my process, just focusing watercolor, I do have a class here on that, so please check it out. It's on my page. And so we're going to start with coloring. Quick introduction. I'm using my Sennelier watercolors. These are great. Love them. I'm not beekeeping brushes. I'm using just one from Van Gogh and some other randoms, as long as you have a variety of brushes. And I always use round brushes, they're just more comfortable Hughes, and pretty like them. This is going to go for around three parts. So basically the base shade, the base color shading, detailing I mainly three steps but it will go around that Go deciding the color of the hair. I don't mind doing a natural colors. I love doing pink hair, blue hair, white hair. I love doing those. I'm kinda loving the look of it being white. So I'm thinking we might actually do a sort of grayish, bluish, light color. Thinking might be really cooled. Contrast with the warm tones are riskier than I usually would go for a pink hair, but let's maybe try something differently. Hopefully won't bite us. In the bottom. We'll see for the first layers, I actually do like using a quill brush. It's just a very fluffy brush since we are going for a grayish, bluish color. I think the first layer is going to be a very light french ultramarine. I don't have any clean space here on my pen. So I'm just going to clean here a little space. This is a very small 10. Here's some French ultramarine with tons of water. And it's nice to have a blank piece of paper near you to test it. I just tested here on top of this page of my sketchbook. Since it's handy, it's light, so we're going to go with it. And I just pretty much go all around it. I may leave some highlights here or there. But since the hair that I like to do, It's not super straight. It usually it's usually not going to be overly shiny. So I don't do a lot of highlights. Maybe one here or there. I don't think a lot about placement of pigment in this part. I just pretty much just fill it out. Is being careful with the skin. Usually I would not have the full skin done. I am much work in a full general step like what I do line art. I will most likely do line art all over the piece. But in this case, since I just wanted to get the skin out of the way, I decided to do it before. You might have to be a bit more careful. In my case, I have to be bit careful to just avoid the pigment that might be lifted, that it's darker so it won't contaminate. This is pretty much the first step. Very important tool for me is to have a heat gun hairdryer will also do no problem. This is just to drive the layers in between. It's really, really, really important to have a dry layer before you move on to the next player. So we're going to quickly dry this. 9. Painting the hair - Second Value: All right. Pretty much dry the first layer. I have a little poll here, water, but that's fine. By the time I reach it, it's totally okay. Now I'm going to switch to another brush. This one we'll define. This is a smaller brush, it's a six, but it's big enough that it allows me to cover areas, but had a small fine point that also allows me to get detail since we're going to contrast, this is a time that you can have lots of fun playing with colors. These are the colors that I have available in this palette. Might play little bit with the torque ways and maybe Payne's gray. We'll see what we get. I quite enjoy just making up kind of crazy color palettes. It's one of my favorite things to do when painting for a little bit of turquoise and give it a little bit just a purple, just to turn it down. Tested here seems fine. Stoic. Go. Now we're going to start shading. And when I shade, I basically think of the shapes that are in shadow of course. So this bit be one of the first step, will be in shadow. I'm thinking that the light is coming like straight adder and it's not a super harsh light. I kind of use this as well to make lines already. Like I think I mentioned, I don't really do Leinhardt line art. As you can see here, the INR that I used is mixed with the shadows and it's also done in watercolor. I do my lines with watercolor. I just find it much easier. I don't really enjoy microns or things like that. I don't really enjoy using them. And so I use this. And for me the shadows are pretty much the same color as the line art in terms of value, usually the value is the same. The line art is the same value as the darkest shadow. It's an unusual darker at which I think happens in most drying just kinda happen with mine. And so I just kinda do some blocky shapes. Now I have to be a bit careful of little things I understand. Okay. I'm gonna go over them because I think I'm gonna do them with pens. And it just won't get in the way with me like this piece. Then I like doing, I like doing this little separation. I think it looks very nice. Going straight here behind the ear. Also need to define just you're the banks. Yeah, then I just start filling out some spaces that I just feel like to be nice. It's nice to also leave some spaces with the lighter color. It looks cleaner and it also allows for the Heritage have more color variation. For example, this bit here I'm going to go over it, but this, I know it's going to be one of the darkest bits because I know it's in the shadow. By me. Just placing watercolor on top is just making it. So it's going to be even darker. Watercolor, the medium that you can really layer, and the moray layer, the darker it will be. So we can also have that in mind. I'm just mixing here a little purple that I have from using the line art, so the color is more cohesive as well. So really nice trick to just mix color that you already have in the picture, the drawing, so they are a bit more cohesive. And also going to join here the top with a very thin line. Why not this one as well? So as you can see, I'm not super strict with where I'm placing my darks, darker values is just going Just following as I go. Desperate, for example, I know it's going to be one of the darkest sense. It's going to be in shadow. So I pretty much just make this bit falling shadows. I just know it's going to be another cousin, it's fine. And it's totally normal to keep mixing colors. If you are not very comfortable with mixing colors, I would suggest that you mix a larger batch, since I am quite okay with having color variations, and I'm quite comfortable with mixing colors. I totally don't mind. Keep mixing once in a while. For example, I am covering some of the highlights. That is totally fine for me if you want to keep those very white, just avoid those. I totally don't mind covering those because they will always be a bit lighter than the other colors since they still have a bit of the white of the paper. And just kinda already doing a bit of a line art here. And I also like to pull some of these trends over. Create a bit more interest. For example, here, I mixed a darker color than I wanted. It's totally fine. You can just take a paper towel and dab it on, and it will go back to where it was. Watercolor can be quite forgiving, so don't be scared to just make a few mistakes. They're easily fixed. So carrying on, I am just going to add here some of the shadows because I quite like the more dark gray color. So I do want to maintain it, especially here on this part. Here in this part it's totally fine that it's gone into cello. I do need this to be, this part to be a bit more in shadow. So the hair doesn't have to be super cohesive in terms of shadow, at least when you are doing stylized heritage, totally fine to have a bit more craziness in it, and it looks fun. So go at it. So this is the second value that we're going to add. So this bit, I'm going to go, just going to add shadow over here. As I want to leave this bit, the color, the lightest color possible. And add here little bit hair to just add more flow. And this bit has to stay bidding shadows since it has the first one on top of it. I used a red color pencil so you can kinda see it in the sketch. I'm fine with it. I really don't mind to be able to see sketch lines, but if it bothers you, you can always use neither eraser before. So this is kind of our second value. I'm going to dry this with the heat gun and that we can start our third value. 10. Painting the hair - Third Value: Now to start our third value, I usually like that the whole line art is cohesive. So in this case, phi hat done this. At the same time, the liner of the hair would still be this purple color. Now I'm not sure I'm going to do that, but I think I do want it to lean towards the warmer colors. So I'm going to try and mix a Payne's gray here, right here. And I can even mix it here with a pink because I do want to be like a darker purple, but still purple with the hue of warm purple. Let's watch it here. Not yet. So we're going to keep mixing a bit more. And I think that will be fine. I'm going to water it quite a bit in the beginning. That's fine for me. I can show you here else totally okay for me. And so now, because this is still not going to be our final liner, this is going to be our pre liner. I'm going to place this on the darker places. And then I'm going to go with the over concentrated color version of this on top and that'll be a liner. So for this, for example, I'm going to apply it straight here. The closest to the neck is going to be the darkest because it is in shadow of the neck. And so, and also behind the shoulders. So that's going to push this bit of the hair further back, giving the delusion. So it's nice to play with shadow and light, see what's closest, see what's not. And in this case I'm kinda shake shaping the shoulder bit better because it kind of looks a bit odd when I did it. I'm shaping that and now I'm just, I'm going to stop kinda putting an inbox. And I'm going to start applying it in more strokes. Since this is already kind of our line art and this bit is still shading. So I am going to fill in some spaces, but it's mostly to prepare for shop for our line art. And once again, I am Phil, I'm following the flow of the hair this bit specialists quite flowy. So I am just following. I'm quite shaky today. Now my best, my best moment in terms of steadiness and quite shaky. So this is too repetitive for me actually. So what we're going to do, I think I'm actually going to paint some bits with the darker color. I don't like it. That repetitive, it's quite stiff for me. And I'm also going to join some of these bits to break them apart. And that already creates a bit of an interest. I'm also going to pull this bit here and make it separated. And that already lifts up the hair. It looks like it's being pulled upwards. And I'm also going to do the same here at the bottom. Because I just like having a separation. It makes the hair look very flowy and much more natural rather than just being a confined shape. And I can even do the same here. Careful with actually not touching the face because that would ruin our precious work of doing the scan. And so I'm going to work this more when it's dry. And I'm going to now, since this part is going to be much darker, I'm going to kind of do the line art here. I'm not going to go as dark as I went here. I'm still going to need to mix more more color. See if I can do the same color. If not totally fine, don't worry about it. I quite enjoy seeing variation in the tones. For example, this one is warmer, but it works in our favorites since cooler colors usually makes you think of things that are further back. So the hair being a more cooler tone here, it's going to go for our favor. If the hair here is warmer tone, it's going to make this seem farther away. It's nice to know these little tricks. So in theory, this bid should also be these colors, but I don't have that mix now, so we're going to start here. It's not a crazy difference, but it's enough. Hopefully it will trick our brain. And now I am kind of going with line art. This bit. I'm already kind of going with the idea of line art. So I'm just going to be separating the hair here. They're also pulling it here. I quite enjoyed coming across the face to also make it seem like it's in front of the face as well. Although it doesn't have a shadow here, we can add that quickly in a second. Also going do the same here. This bed is a better I'm going to fill out. And I do sometimes go over and over with. Layer of the line art, since watercolor dries lighter, sometimes it needs a little bit of help to get to the shading that we want. And that is totally fine. I don't mind. Unless you get bored quite quickly of doing the same thing. That might be a bit boring for you, but I do enjoy that stuff. I kinda going autopilot at this stage, which is not always the best. I have done mistakes because I was not thinking. Okay, This part, I'm going to darken it here. And finally here. So the shading, Yo, I did a mistake here. Okay, so what we're going to do, it's going to let this bit and with a paper towel. And it's gone. See how easy that was? Honestly watercolor man, watercolor. Here we go again. So it's all connecting behind the year. That's our anchor point for this part of the hair. Everything is being pulled that direction. It would help if I was not as shaky today. Okay. If you're not as comfortable with a bigger brush, you can always use a smaller brush if gives you a bit more control. I just do enjoy using a bigger brush because as you see, I go from stages between a line art and filling out a few shapes. So I enjoy that this brush gives me the freedom to do so. But if you are not comfortable with using a bigger brush for line art, a smaller brush will work just fine. Something, why? Something like this will work? This is a 6 or a four is actually one of my favorite sizes. Let's grab this one here. And yes, all going quite flowy. Still have quite a lot of color, which is good. Yeah, this bit needs to be in shadow since it's behind the ear. This bit, for example, I filled out with the color of the shading of the skin, but I'm going to pass it over with this color. It was mostly for me to place it in like this. It's also a technique called glazing, where you going over colors, it gives them a different hue or tone and you can just layer them. Watercolor has that freedom. I'm also going to the same here in the arm. This is all shading of the hair. Once again, I am kinda shading, shaping the arm. It turned out the bit weird, but I knew the hair would be here, so it's no problem. I'm actually going to do a few strands of hair over the shoulder, like so. I quite enjoy it. And again, it makes it feel like the hair is above her skin. So the hair goes to the foreground. So it's in the first layer is closest to us. And she's playing with these little tricks that really makes her look alive. Ooh, I did the wrong color. And after a while these become quite second nature. I don't really think about these well, I'm painting. It's quite odd for me to be thinking about them right now. So once you get used to these, they'll just become second nature to you. Let's see now the color. Yep. You're good to go. Careful here so you don't put your hand on the wet watercolor. If you are finding it difficult to maneuver your hand, you can keep trying between strokes. You don't have to just dry when you want a new layer. If I'm just want to be safe of this bed, I can quickly dry it, for example, there. Now, I don't risk the danger of just putting my hand here and renaming our very hard work. Heat gun has really saved me multiple times when it comes to watercolors. Since this part is also going to be more down, I do want it to be a bit darker. I quite like to make very light colors on top and then going darker as we go down. Just because it gives more of a sense of weight, makes it feel like the hair is heavier in the bottom, which I like personally, I enjoy that look. So I kinda make it that the whole darker colors end up meeting, hearing the end. All right, so I can easily undo like that. And kinda looks like they are one piece. And just do another one here. So as you can tell this for me, still not dark enough to be considered a line art. So in a bit more, we are going to go with a very super pigmented version of this with our brush barely drive. And that's also a thing I talk about in my other class about watercolor of the various effects control gifts on your brush show again. If you're interested, you can always go. There. Was my first-class, I believe. So this bit is kinda done. I don't love this area here. So I'm going to unite it because it just felt very broken and I don't love this. I'm going to go together like that. And I think it creates a bit more of a cohesive look, at least my opinion. So still have this whole bit. So this bit I don't mind filling out a bit more dark since again, we are approaching the bottom, so I don't mind having just a streak here or there that's heavier. And then I just do a little bit of negative space here and then go back to just filling out the warnings. So it's a bit of playing with both both things. People desperate as well. I'm going to fill it out and do that look good thing. And it just looks heavier. It looks like it's just has of weight. And I quite enjoy that. Here again. And once again, we're following that flow of just underneath her. Very nice to have to follow that flow. Going here. Then this bit here, I'm going to just do a little bit of a shadow because I do want to keep that lighter blue. Like that. Maybe. Yeah. And on the other side as well to frame that lighter blue. And then I just need a line here on top to frame this peds. And I'd say we're almost done for this step. Because I mean, just this one here and another line on top here. Tonight, these two. And I'd say this step is done again, drying and then we're going to go for final step of layering. So pretty much the line art. 11. Hair Lineart: So everything is dry now. So I'm going to go with my brush mixing the same color this time with less water. I really want this color to be quite heavy or not. It's watery. It's kinda, it's going to have to be a beacon goopy, to be honest. So my brush is also going to be barely with water, is going to be quite dry. Also to help me maintain my point and also so the pigment in the brush is more heavy. Let's see now, it looks great for me. So I'm going to start from this side onwards. Excuse me, if I don't speak as much, get quite focused on this bit. So it might not seem like a lot of difference to you, but in real life it makes a lot of difference. So this bit is done. Now we're going to go for the heaviest bit. So I'm still going to fill out this part darker. So it's going to be like a thick line art, so to speak. They really just want this part to be the darkest possible, is wet a little bit of the brush. And if you buy, in the meantime, feel that your color is not opaque enough, can always just add more pigment. Same thing here. I also want this bit to be quite opaque. So you just want enough water for your brush to flow nicely. You don't want this to be like a dry brush since it's going to leave weird marks. So in this case, for example, I'm not going to make hair on top of it since I want to make clear that the shoulder is above it. So just a little note. Okay. So here, since it's no longer the darkness, darkness, I'm just going to make a lot of normal line art. And in this case the flow is always going to be behind the neck. So all my lines are coming from this darkest part. Actually need to mix a bit more since I'm finding it a bit too light. Always testing not the color if you feel unsure. And you don't have to make a full line. For example, I can just leave it like this and it's totally fine. I can just do this. Full lines can actually be too heavy, so totally fine to just have stuff like this. I'm just going to go over this bit. And for me this side is pretty much done. I am just going to do a little line here because I find it a bit too big of a again, this is just my personal preference. Just want to shift this down a bit and I'm actually going to do one of those double lines. I quite like how those. So this side is pretty much done. So we're going to go that side. You can kind of see the difference in this one just looks a bit more defined and the shadows are a bit more deeper. So connecting here the hair to this bit. And you can even do small bits at this stage. So we find once again, now the flow is going behind her ear and make it even going to make a line encompassing one of the darkest parts. Because these are also part of another value. So it's fine that these colors exist. And it also gives more color variation to your drawing. Like I said, not every single part needs line art. You want to leave some part online. You can just do what makes sense for you. So I just want this bit here. I want this part to be quite light. Top of the head. So I'm just making wine arts here on the darkest darks and leaving the rest pretty empty. And you want to fill out this bit, just a bit, but I am going to leave a gap here, need to make some more color. This stage, the color goes quite quickly since I am using a quite high pigment counts, so less water, so color goes by bit faster. Some places you might not even be able to tell that you placed. Darker colors since it's already too dark. But that's okay. I'm going to do you want to make this part of the darkest was still a bit too Polish. Not dark enough. And now again, I am connecting this part as we did in the previous step. But I am going to leave some bits. Just going along what makes sense? It's pretty much what you should think about, just whatever makes sense to you, especially if you're using stylization to make here. For example, I'm finding this bit quite empty. So I am going to connect the hair strand. Here. Might seem a bit random, but I much prefer to have the space filled out. This part as well here. And having the cooler tone in her hair and also warmer tones, you know, skin really helps create a nice contrast. Can always go the other way around this course. Just full cool or full warm. But I mean, why not put with it here that's too thick. I don't love how that looks. It's a bit too thick, but it's fine. Some things are not fixable. For example, I'm not sure I'll be able to fix this without making a mess. So I'm just going to accept it and move forward because my brushes too loaded with pigment. Hence why this happened. David did a little bit in the paper towel and now it's much more manageable. Let's also think that helps not having to too much pigment. So the brush is able to keep its books. Sometimes you can create shadows on top of the shadows can give a really cool effect. And I think we're almost done. Just going to unite these bits. Add a few extra lines. Because no really a reason. I'd say almost done. Let me look at it and say it's almost done. I just would like a few lines here just to give you a bit more interest. And yeah, for me, the hair is done, what I would do. But now it's just a personal preference. I might just add a bit of this color to the line art of the skin, but very small amounts. So that will be in the next clip. Sense is just the final, final detail. 12. Final details: Color on the final image, which is just a tip. If you want to have a bit of more cohesive painting to just color here or there. So I'll mainly be adding this color on little creases. So possibly here. I'm barely breathe. And I do this. Okay. And I'm just going to the centroid here. Knows bit. Yeah, I'm not doing a full, full line, I'm just adding little bits. So it helps also defined shadows and also just make the two parts of the drawing seem like part of each other because it's not as stark difference, especially in our eyebrow. I definitely need to fix that. Her eyebrows just does not seem like part of hair. Since it's such a different color. We're going to do, I'm actually going to take the second color that we used. And I'm going to make some details on her eyebrow. I'm just specifically placing the second color on top. That way it looks more like the hair that she has. I'm also just going to add a little bit here. Yeah. I like that much better. Yes. Yes, yes. Now it's a bit wider but it's totally fine. What I'm going to do, I'm going to just kinda buff it out. It's a bit more softer since we didn't have this little highlight. Just going to darken up around it. They're usually makes the highlights seem brighter. Just a little step, not super necessary and I don't even do this every single time. So we'll stop here just to push this highlight the bit to make it nicer. Okay, so just small touches here and there and then we're pretty much done. Okay. So we are much done with the hair. I can't do sometimes do a little highlights here and there. So I am just going to do that quickly. So cool trick as well too then just have some nice finishes, is doing some nice highlights. I like to use an acrylic bam. This is an artist's row acrylic pen, one of my faves and then I just like to do some dots at this is very clamp vary. The art that I showed you that was my inspirations is very much, There's very much a staple on there. And then for my part, I also like to add some sparkles. I feel like it makes it look even more magical and that's a must for me, especially on the darker parts, to bring out some contrast there and also just added magic minus. That is a word. Yes. I haven't done the air clips. I might I might actually just fill this out with white now. Like I mentioned, I don't really do accessories on the hair unless it's like flowers. So I think it shows because I completely forgot about them. Little little clips. Okay. So those are pretty much done there. No rhyme or reason here. Just where I feel like it's needed to add more magic. I quite like having them in darker spots sense you can see them there. They kind of get lost. And the lighter bits. I also like to add some jewelry and some highlights here in the face, lips, also some white freckles because it looks cute. This is pretty much a drawing. Very simple. Very cute. This is pretty much our drawing done. So we're just pretty much going to analyze here what we did and just give you some little last minute thoughts. So once again, just very flowy. If it helps you the structure to practice, redraw hair, use shapes, remember flow, and don't be afraid to just creative with colors, shapes. Just have fun. Hopefully this class was easy for you to follow a remember, valleys are super important to just define and breakaway shapes if you then want to play with white paint on top to make it more magical. That also very fun stuff. You don't have to follow the reference image that I, that I did. And you're going to also have to use this style. This is a style that I adapted myself to you, but of course, in the end you will find your own style and that's just one of the best parts of being an artist. You can create your own style and just have lots of fun. But 13. Outro: And we're done. This is our final result. Hopefully yours will look much, much different than mine, since the point of this class is for you to learn how to have that references to your own style. So it's totally normal. And I actually encourage, if you take a reference and can even use another reference and just try and adapt heritage where you want them to look. If you still don't have a style that's totally normal, That's where you begin your journey of collecting references and inspiration. Try and pick and choose what you like from each style in trying to cooperate it, please keep in mind that I'm not encourage you to straight up copy someone else's style. That can be very hurtful to artist. If you do want to practice someone else's style, please reference them. If you ever posted online and try to just build and build from other styles, but to try and make it your own. So in the end, you can have elements from each artist or style that you enjoy, but the overall look should be unique. Style is something that comes with time. I myself am not still super fixed on this style is something that I'm trying and it's growing every single day that I draw. So it comes with time and style is not, it's not that important as some people make it. It's totally fine to just try different things every single time you withdraw and just have fun experimenting while drying hair. Remember to follow the flow that it wants to go. So in this case it's behind the ear and then just flowing down. And then try to remember to use values to your favor to give the hair more deaf and Lord, just illusion of them being there in the end. It's totally fine to just create some highlights to make it more magical. In this case, I used only white, but usually I use the full rainbow of just sparkles and highlights because it's fun. There are no rules while drying hair, especially if it's a stylized way. So have fun. The hair can be going up a few one there is no There's nothing letting me know that they shouldn't. For example, the hair is going here up just because I want it to look magical so it can go up for whatever reason you want or just because have fun with hair colors as well. Mine's blue. You can do hair whatever color you want. I hope you enjoyed this class. I had a blast filming it and making it for you in this class, I mainly talked about long hair, but if you want me to talk about shorter hair, I can totally do another class on it. This is just the way that I thought it could be easier to show you the flow are the lines that I do, but shorter hair, I do bit more differently. I mainly dried like I have it kinda I think that's my favorite style of drawing short hair, but let me know. I'm always open for new ideas for classes and to hear what you guys want, please share your work in the tab below. I love seeing your work and it just makes me feel all happy that you guys are enjoying. And if you need any help coming up with any solutions or just feeling a bit stuck, you can always message me, I am more than happy to help. And if you want to talk to me directly, you can always reach me on Instagram. I'm pretty much there all the time. I hope you had lots of fun doing this class, and I'll see you in my next one. Bye.