How to Draw Hair Better Than Anyone Else | Chris Petrocchi | Skillshare
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How to Draw Hair Better Than Anyone Else

teacher avatar Chris Petrocchi, I help artists grow on their journey

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction

      1:34

    • 2.

      The unexpected anatomy of hair

      2:35

    • 3.

      Key 1 Shape of haair mass

      8:37

    • 4.

      Key 2 flow

      6:19

    • 5.

      Key 3 layers and overlaps

      4:19

    • 6.

      Key 4 big form

      5:43

    • 7.

      Hair confident strokes

      1:56

    • 8.

      Charcoal Demo | Shape of the hair mass

      3:15

    • 9.

      Charcoal Demo | Layers

      10:46

    • 10.

      Charcoal Demo | Big form modeling

      3:09

    • 11.

      Charcoal Demo | Textures and details s

      27:53

    • 12.

      Charcoal Demo | Polishing

      4:09

    • 13.

      Lock of hair demo

      23:14

    • 14.

      Draw curls intro

      1:53

    • 15.

      Draw curls demo

      5:32

    • 16.

      Haircuts female

      16:09

    • 17.

      Haircuts male

      7:38

    • 18.

      Haircuts roots

      11:18

    • 19.

      Tight Afro

      10:58

    • 20.

      Loose Afro

      10:34

    • 21.

      Braids & pony tails demo

      9:42

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About This Class

In this drawing course I will demonstrate the 5 keys to successful lifelike hair that will make your portraits better than ever. Inside you will discover how to analyze and organize the complexity of hair into a simple and clear statement at each key stage in the development of your drawing.

I will demonstrate a charcoal drawing of a full head of hair.

I will also show techniques on how to handle:

  • overlapping locks of hair
  • curls and wavey hair
  • hair cuts and hair styles
  • braids and ponytails 

After this course you will be proficient at drawing hair and enjoy better, more alive and more believable portrait drawing.

Join me on YouTube live every Wednesday night @ 7pm PST: 

https://www.youtube.com/c/chrispetrocchi 

Join the Draw Juice Facebook community to get support and level up your art skills:

https://bit.ly/2D2AFl0

I want you to be the best artist you can be. I help artists of all levels crush obstacles, become dominant in their fundamentals, and overcome their fears to become the visionary fine artist or commercial industry professional they dream to be. For my 1 on 1 mentorships please visit https://www.drawjuice.com/

I look forward to seeing you in the course!

–––––––––––––––––––

Visit More Classes To Improve Your Drawing

Draw Portraits Better Than Anyone Else

Draw The Head Fast With One Simple Shape

Draw The Front Planes of the Head Made Easy

Easy Way To Draw The Face Using Shapes

10 Minutes To Better Portrait Painting

Also, feel free to join the Facebook Group  and request to join to show your work, get feedback and encourage others

Thanks for your support! If you want to know more please visit/follow me online here:

https://www.instagram.com/drawjuice/

www.youtube.com/c/chrispetrocchi

Chris Petrocchi | Draw Jucie Studio

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Chris Petrocchi

I help artists grow on their journey

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Transcripts

1. Introduction: Hi and welcome to my hair drawing workshop. I'd like to take a moment and give you a quick overview of what I'll be covering in the course. First, I'll reveal a few key insights about hair, including the anatomy of hair. That'll help make it easier to understand what you should be looking for and reduce complexity, making drawing hair easier. And I'll talk about a couple of helpful techniques in terms of the kinds of strokes you can make with both charcoal and graphite. That'll help you gain confidence. I'll be demonstrating my step-by-step process for how I draw realistic hair, revealing the five simple keys that I use to streamline my process. First, let's go through the art materials and tools that I'll be using. And there's a document included with a list of all the materials I'm using in the course. I use charcoal for this demonstration, but graphite works just as well. So feel free to use whatever you're comfortable with. I prefer generals charcoal pencils and use an HB and a to B for the bulk of the drawing. For the block in I use a Mars luma graph, graphite 2B pencil. I'm also using drawing paper produced by Strathmore, which is an 80 pound paper, which has a medium tooth to it. And it's thick enough to take repeated erasing and replication of the art medium. Alright, so let's jump in and start analyzing hair. 2. The unexpected anatomy of hair: Alright, so let's jump in and look at what an actual strand of hair looks like. So we're looking at a cross-section of a hair strand and it consists of the cuticle, the cortex, and the medulla. And human hair isn't solid or colored all the way through. Hair consists of many layers, sort of like skin. So you can see your blood vessels through your skin. So your skin is a little bit translucent. The cuticle is that outer layer of hair, and it consists of translucence scales that overlap, kinda like window blinds. The scales that can be opened and closed, just like you can adjust the angle of window blinds. That's interesting. So these little cuticle scales open and close. And you can see them here in blue, and you can see them down here. And so that will affect how solid or translucent the hair looks. So the cortex is the main body of the hair, and it contains all the melanin or color pigment. And so that's visible through the translucent cuticle. So the outer layers let the colors shine through, so to speak. And the majority of the hair strand is more or less see-through. So sometimes if you look at your hair in a certain light or up to the light, you might, it might appear translucent or see-through to you. And that's the reason why. Now the medulla or the inner layer is kind of an airspace. And you know, it gives it the hair, its thickness and provide some insulation. The structure of the hairs cortex right here. It's pretty much responsible for the relative straightness, curliness, and elasticity of the hair. And hair can be arranged in single strands. Loose groupings, very thick groupings, a couple of examples. Very straight structural hair with lots of volume and construction. It can appear wavy, right? And sometimes like smoke. It can be frizzy. And it can be organized into groups or layers, very distinct groups or layers. So that's the anatomy of hair. Alright, so now I'm going to introduce you to the five keys of drawing Awesome hair. Let's go. 3. Key 1 Shape of haair mass: Alright, let's look at the first key to designing great haircuts. And that is the silhouette of the hair mass. And the secondary shapes inside that make up all the shapes. So this is a very flat 2D kind of analysis. And you want to think about designing your shapes, designing your hairstyle. And that is the shape language, right? And that shape language gives your portrait or your character lots of personality, okay? Or it has that potential to. So you want to think about designing the graphic shapes. And what's interesting is that if you look at the shadows, you want to keep those shadows, keep the texture and detail to a minimum, like in that area. Okay. Not a lot of texture, Not a lot of details. Then you designed the half-tones, which are kind of, you know, in this area, roughly speaking. And that's when you're going to have the most detail, texture and color and the highlights which are right in here, okay, those should remain light even after the texture strands are put in. And so that means that the lines will be thinner and lighter. Ok, so now what I'm gonna do is I'm going to on this blue layer and just kinda add an overlay. And on the green layer here, I'm going to draw on top and analyze the shapes. Some, first of all, we're going to look at the hair mass, the overall silhouette, okay? And that's crucial to getting a likeness. So you wanna get the height, width, proportion to the face, right, and to the head. So just that right there. That's simple. Putting in the silhouette of the hair mass is going to help you go long way to help me getting a likeness. And then within, let's break it up even further. So I've got this big shape here. Remember I'm keeping it really flat and just break it up into its basic kind of puzzle pieces. As a way to think about it. K Then we have kinda like this shape. And then this one. You can do this probably a few different ways. And then we have just this this one down here in this area. Okay, so that's pretty simple. And it's just these basic lab analysis. Let's go over to this one. She's got kind of this piece that turns over. So we see the underside here. And then we see this wave. Right, so there's that piece. And then there's this piece from the part of the hair all the way to the back of the cranial mass. And so you just, what we're doing is getting used to looking at what hair does and organizing it. And if you can organize it, it's gonna be a lot easier to handle. Kids move over to the right side of the head. So from that part of the hair, let's go in the front. There's this piece here. If we turn this off, you can see that right there's this section and this kind of swoop right here. Let's look at that. Okay. And then there's a piece that comes down the length of her face. And just doing very basic, keep it very simple. Right? We have a little piece underneath, so there's kind of a layer. And we have this section here. And then we have that section from the back, the top of their head basically coming down the side. Alright, lets move on. Alright, so let's look at the silhouette of the hair mass here. Back to the cranial mass. Nice curve here. Just grouping everything together for now. At this first initial pass. It's a great way to study not only hair but haircuts. So you could design a hairstyle. Okay, so that is the silhouette of her hair and then she does have some creeping out from the right side of your face. So let's get that. So we're trying to get the height and width accurately, right? Okay, so now let's break it up to the next smaller refining facets. And I'm gonna go with this front piece here. Let's pick up on the back part of the hair. There's a little window here, a little cut-out shape. And then there's the back part of this. That's a curls little complex here. It could even take this and separate out some of those shapes there in the front. Okay. So that would be something like that for her. And this one is very, very complex, but again, we'll just break it down. Go from simple to complex. So getting the silhouette in no big deal. The proportion of the hair mass is so important and so effective. And you don't want to jump in and just start going for details. That is the biggest mistake people make is they just get really excited and start drawing details and strands of hair and they end up with spaghetti hair. And it's noisy and usually it doesn't look. That takes away from your design. You lose the whole proportion of the hair against the proportion of the face and neck. So I wouldn't recommend doing that. So there we go. That is the hair mass shaped design. And bringing it down from the big two, the more refined and complex. So let's move on to the second key, which is the action in the flow of the hair. 4. Key 2 flow: So not only do we want to get the hair mass, the proportions, and really clear shapes. But we want to capture the action, the flow of the hair. Because there's movement there. If you can give anything movement, it makes it more dynamic, gives it more character, and it's more alive. So Hare is a perfect thing to do that with. So let's go through it again and kind of analyze the flow. So the hairs growing out obviously from the root and it usually goes up first, right? And then gravity brings it down, write it goes up. And it goes on the side of the head, it goes out. And then if it's long enough, it starts to fall in a downward direction by gravity. Okay? So this is just going to be a series of arrows and k. So we're just analyzing the direction and flow or energy of the hair. Think of it like energy. And there's a force pushing down on the hair, right? It's going up and then it's swooping back down because of gravity. Ok. This goes this way. These go this way, right? Right. And then we have some, you can think of these like smoke or like rivers. And then we've got this, right. Okay, pretty easy. This is the same exact technique I use for figure drawing is getting the gesture. Because if you can capture the action, you can bring it life. Okay? So learn, gesture. Understand it. And it's a universal tool for drawing, drawing figures, drawing hair, drawing faces, drawing any living thing. Basically. Basically things are made up of curves and corners. In the visual arts world, the curves give it life, the corners give it structure. And that's the best of both worlds. So I'm just following the flow here using C curves, S curves, and maybe a straight line or two, but mostly see curves and S curves. And it's fun. Okay? And those C curves are going to interlock, roughly speaking. Almost looking like a river, right? Or as I mentioned before, like smoke. Okay. So there we go. With her. Moving on. The hair goes up and then gravity pulls it down. And now we have almost like a slide when you're at the pool and you take that slide and it goes down and curves around and dumps you off in the pool. It's kinda like that. Let's go here. This is really fun when you get the handle of just doing gesture. We're not drawing hair per se. We're not drawing details. No consideration of light, just analyzing the action of the hair and the locks of hair as they flow out. Right? This one. This one is not easy. But we'll give it a shot. See the way those three masses of hair moved from a forehead back. And then we've just got these series of, they're like waves go this way. And these little guys are going this way. These little curls. There's little wisps of hair come down in front and on the side of the ear. Okay? Okay. So that is my analysis of the second key, which is action and flow. It's going to give you life. It's going to make your hair look dynamic. And that's really important for believable hair, believable characters. All right, let's move on to the third key, which is layers in groups. 5. Key 3 layers and overlaps: Okay, the next key for drawing hair is layers and groups. The reason why layers is important, let's talk about overlaps, which is another way of saying layers. Overlaps is the fundamental way to create depth. Now look at these two circles. You can't tell which one is in front of the other. They're both the same size. Exactly. So where we can't really tell unless we do this. Okay? Then we can clearly tell which ones in front, which ones and back. So the overlaps create depth. So overlaps are really handy and efficient way to create perspective in your portrait and then your pictures without three-point perspective and all the math that comes with it. So not only can you create depth with it, but you can organize the hair with these overlaps into groups. And then think about designing your hair. And so that's going to speed up your workflow quite a lot. And it's gonna take some of the pain out of drawing hair by giving you a really good strategy and a more pleasing effect overall. Ok, let's jump in. You're thinking about organizing inherently groups. I want you to think of or look for the shadows. So these groups of hair overlap, so where one is overlapping and other that there's going to be a shadow. So look for the shadows and you'll find the boundaries of each group. So this top area, it's got these tapered shapes and there's a light part to each shape. And then underneath it is another shape and that shape underneath has a cast shadow. So that's one clue. You can think of these as cut out pieces of paper that overlap each other. So that's another way to think about organizing these groups of hair. And some hairstyles will be more obvious and easier to group than others. But as you start getting into looking for the groups, that'll become easier and easier for you. The rules of three is a handy concept here. Not the rule of thirds, but the rules of three. And we can use this concept to rather efficiently organize complex groups of hair. For example, you have a top layer, a middle layer, and the bottom layer. So that front layer by his forehead is on top. Then there's a layer underneath that. And then it is on top of a third layer, which is the hair that's cut very close and cropped to his skull. And you can see I laid that area in by his ear there as just a simple flat piece. Again, simplicity is the objective here. Ok, let's finish this guy up. I love his hair, looks like tongues of fire. That's so cool. Ok, I think you guys get the idea here. I will let the rest of these play out and I'll need chomping at this time. Alright guys, that's it for the third key of drawing hair, layers, groups, and overlaps. Let's move on to the fourth key, big form modeling. 6. Key 4 big form: Alright, now we're moving into shading and rendering. So shift your thinking from flat 2D shape to round 3D form. And if you'll notice on the reference to the left, her hair is blond. So the local value is a light value. The local value is the value of something without consideration of the light. So no deep shadows or bright highlights, just the local value. So I've laid in a very flat light, let's say 30% gray, 20% gray shape. Just a silhouette of her hair mass. And all I'm gonna do is start to record the influence of the light on the big forms. Forget the details. Just the big forms, the big impression as if you're 30 feet away. And all you can see is big forms. So just going to go ahead and put in where this form is turning from the light. So the key light is camera right? And in front of her just a little bit. So let me just make sure I have my values here. Okay? And so automatically when I add the value, it starts to turn the form. And that's the beauty of the influence of light on the objects that we see. And that's how we see 3D form. And once we understand that this is so powerful. So her head is turning away from the light there towards the center part of her hair. As you can see, there's kind of a a fit rim light camera left. So it's lighting up her hair on the left side just a bit. So again, it's just the impression of the light in it ends up being some very subtle gradations. That's all we're after, Billy. Just enough to turn the form. As the form goes away from the light, gets a darker modeling tone. Okay? And one very interesting thing is that hair conforms to the shape that it's sitting on. So the cranial mass is a round bowl or a Gleick shapes. So notice the highlight on the reference is conforming to that very idea. Her head is around ball-shaped end. So let me point that out here. But here on the reference, the highlight is moving around as if you're going around the head. And so it's not going straight across or in some random way, not going straight. It's really wrapping around. So think about when you do your highlights and your shadows, how those tones will conform and wrap around the head. And that will go a long way to explaining the form very simply. So I've pretty much got my big for modeling done. It's very simple, very easy step, but so effective in turning something flat and two D into something 3D. And just notice the edges, whether you have hard or soft edges. And that's all you've got to do. Forget about details. Strands of hair doesn't matter. One bit. And just look at it real small and see if it's got that depression. Just the basic impression. And we are good to go. That is big form modelling. The next key is textures and details. And I'll be doing that on the charcoal drawing of a full head of hair. So let's get started. 7. Hair confident strokes: When drawing hair, confidence with your strokes is important. Use what I call an overhand grip as opposed to a writing grip. And just pull down with medium, fast to fast speed. Bold confidence strokes have a much more aesthetic quality, even if they're in the wrong place. As opposed to precisely placed unidimensional lines that look shaky. To get a nice fine tight line, use the shoulder of the pencil and pull down vertically and the direction of the barrel of the pencil. Get a thick stroke, used the shoulder or side of the pencil and pull down in the direction perpendicular to the barrel of the pencil. To get IC dynamic tapered line from thin to thick, dig in and pull down vertically. And near the end of the stroke, move slightly horizontally and pull off gently from the paper for that nice gradation, you can achieve a dynamic line that moves from thin to thick, back to thin again, by pulling an S curve while varying the angle of your wrist just slightly as you pull down through the curve. These four kinds of strokes will be helpful for drawing hair cell. The more you practice them, the more confidence you're gonna gain and your hair is going to look better to. Here's just a couple of more strokes that I find useful when drawing hair portraits and the figure. Look how the line is dynamic and tapers from thin to thick. Note the different angles and attack the shoulder of the pencil and just how quickly the strokes done applying the medium in this manner will give your drawing a bold, confident aesthetic. So go ahead, sharpen your pencil and enjoy your new found confidence in drawing hair. 8. Charcoal Demo | Shape of the hair mass: Alright, we're going to render a full head of hair using all five keys. The first key being the shape of the hair. So let's jump right in. The shape of the hair mass is huge in terms of getting a likeness. So at the beginning, I want to slow down and get my proportions, my width to height ratios, and get my angles and angle breaks accurate. And I'm just going to take my time at the beginning to do that. Now I'm using a Mars luma graph Black made by settler. And it's an HB graphite pencil and it's light enough and easy to erase. So I wanted to go with something more in the graphite range for that reason instead of an HB charcoal because it's just, like I said, a little bit lighter and a little bit easier to erase at this stage. And that's what I want. A middle range HB graphite pencil in combination with a light touch, is what you're looking for in a block in. And I'm measuring the ear heights to see if I've got the proportions correct. And there three years that fit up to the top of the head. And I'm going to take comparative measurements throughout this section of the drawing. Because I want to get the relationship of the parts to themselves and the parts to the whole? Correct. And I'll use my fingers as calipers as you saw when I measured the ear. And sometimes I'll just take the pencil and use it as a measuring device. Both those tools work extremely well and efficiently for taking measurements throughout the drawing. Now one thing it's really important here to keep in mind is patients. You want to go slowly, look keenly and compare distances and angles as you'll most likely be refining the drawing constantly throughout the whole process. Okay, so there's our block and of the shape of the hair. Next up, action and flow. Just here is the term that sums up this stage very well. And it has to do with movement and energy comprised usually and mostly of C curves and S curves as you can see here. And again, I'll be working very lightly with my Mars luma graph, HB graphite pencil. And the idea here is just to sort of plan where the strokes are gonna go, where the movement is going to occur. And I want it to be light because you're not going to see this planning. It'll be drawn over with darker charcoal. Not just to reiterate the line of action. That gesture is to bring it to life. That's the number one thing you wanna do. And the C curves and S curves accomplished app. So that's it for this first two stage is the shape of the hair and the action and the flow. Let's move on to layers in groups. 9. Charcoal Demo | Layers: Key three layers in groups. Now these are sections of overlapping hair that are crucial in getting that sense of depth as we learned in the previous lesson. And anytime we can get depth out of a 2D surface, we're going to be able to more easily convinced the viewer that this object, in this case hair, is real, it's 3D and it's sold on the back of, and the efficiency of overlaps. I wanted to point out that I was rolling my needed rubber eraser to get it flat. And then I rolled that carefully over the drawing to remove some of the graphite and make it a little bit lighter, as I said before, I'm not going to need to see those construction lines, but I'm going to jump over them so wanted to knock them back a bit. And the needed rubber erasers, the perfect tool to do that. Now I'll go back in using my graphite pencil and start to really look at the reference and refine my lines. At this point, thinking of the hair as simple volumes such as cylinders and cones, or even rubber bands or Ribbon made out of paper or folded paper even helps me to visualize or interpret what I'm seeing on the photo reference. Therefore, making drawing overlaps easier for me. And that typically involves drawing one thing in front of another, very clearly, very simply. And that gets the idea across to the viewer. Now you can see I'm pulling my line and I am using an overhand grip, which is very important. I'd like to stress using this grip. It helps stabilize your hand and you can get a variety of strokes from thick to thin out of this method of holding the pencil. And so I'm just pulling it as if it were a single strand of hair that I'm creating and pulling across the surface of the paper. Now bear in mind that you have to have a sharp pencil for this and some exposed lead. So make sure you prepare by sharpening your pencil. And then if it's a blunt tip, you're not going to be able to get this kind of line. Also, when you make your marks, try to feel the thing that you're drawing. Try to feel the hair. Try to feel the volume of the hair wrapping around the head or wrapping behind, going out of sight and then being covered by another section of hair. This is so important when you're drawing China think 3D. Also when I'm using the overhand grip and kind of pulling the hair as if it's a kind of a string across the surface. I've got. A thin line at the root of the hair and as I pull, it gets kind of thicker. So it goes thin to thick. And it picks up the texture of the paper as well. And it just looks a lot better than if I'm just using the pencil on a typical way, holding it on the point. Because number one, that just gives me a single dimension, very fine line. So there's not a lot of dynamics to it. Also keep in mind when you bear down on the tip of the pencil, it just wears out that tip very quickly. So when you have an overhand grip, it, the tip lasts longer. Especially if you're turning the pencil every so often. And it tends to sharpen itself against the paper. So it's not that I don't use a traditional grip. You can see I'm doing that now when things get really small or for very small details, I will move over and change to that grip. And that's perfectly fine. So it's better to have multiple ways of holding your pencil depending on the problem that you're trying to solve. I find that these two grips in particular helped me to solve most Drawing problems I encounter. So I would encourage you to experiment and find the grips that work for you. Now to help me with the complexity of this hair, I'm thinking of two to three main areas of the head, the top of the head, and the groups of hair there, and the side of the head. So as I design the main hair mass into smaller subsections, I'm going to be observing sections of hair as well as thinking through in a design sense, how I can make my drawing better than the photo reference if possible. So the idea of designing your hairstyle comes into play. And the concept that is frequently used that helps me Here is the rule of odds. I will use groups of three or five, usually no more than five. And as opposed to even numbers of two or four, It just seems that odd numbers worked better than even numbers. So on the top of the hair, I see three groups of hair. And on the side I see basically the same thing, maybe, maybe five groups of hair. And so I'm just going to organize things that way. Otherwise it's really overwhelming. And I might get lost or tempted by the detail and then lose the overall impression of the hair of this particular person that I want to capture. In addition to the rule of odds, I will employ a, another design concept called layer caking. Now picture, if you will, a three-layer cake. The bottom layer is the thickest layer. The second layer on top of that is a little bit smaller. And the third layer is the smallest. And the candles on top. The idea is to get good design is to break something down into big, medium and small shapes with the micro details. So the big hair mass will be my main shape, the biggest shape. And I'll break that down into medium and small shapes and using overlaps as well. And then the hair itself, single strands of hair will be like the micro details or the candles on top of the cake. So I don't know whether that description was clear, but if you think about it, I think it will become clear. And it's very helpful in terms of design and organization and making something a little bit better than the photo reference. And that's your job as an artist, not just to copy, although that's good at the beginning, but then take something and push it, takes some design element or take the shapes or take because maybe the color or the value and just change them a little bit so that there perhaps even better than real life. And that way you've taken the opportunity to inject more of yourself into your drawing, giving it your fingerprint, and making it more original. And so that's a pretty exciting endeavor, I think. Now take some time to sculpt out the forehead. And some of the plane changes there because everything looks better when it's connected. So if the hair is just floating there on a white piece of paper, something will seem wrong with it and you'll, you won't be able to get it really right until you connect it to the scalp, to the forehead, right? And then draw in the ear. And when you place the ear, things start to fall into place globally and it looks right again. So if something's wrong with your hair, it may be because it's just floating in space or anything you're trying to John, for that matter, will look unnatural if it's not connected to anything. So keep that in mind. So I am going a bit further in the development of this drawing and introducing some values. And that's going to make this thing look even more realized. Each thing I do hopefully makes the drawing look more and more real. And introducing the values there helped me to establish the placement of the groups. And really they're not going to move from here. So it's kind of a tonal structure that I'm putting in. And also it's a set up for later in the drawing when I introduced the next step, which is big for modelling, it's going to help keep that initial drawing that I'm putting right now from fading away when I put more and more medium or charcoal on top of it. So I want to get those dark shapes and dark values in as anchors in the drawing so that it stays fixed as I move forward. So now that my overlaps look pretty convincing, I'm ready to move on to the next stage, which is big for modelling, where I'll introduce simple values to make the hair appear to wrap around the head. So let's go. 10. Charcoal Demo | Big form modeling: Key number four, big form modelling. In this section, I'm going to take a global look at the hair and the effect of light and introduce a value so as to turn the hair and make it wrap around the head. So it will be very much moving consciously now away from the flat 2D design expression into a more 3D idea and the expression of form. Now this doesn't take long to do at all and it's pretty fun, but very effective. I started the process with a small piece of vine charcoal, which is very soft and you can lay it on quickly. But the key feature I like about that is that it's easy to erase. So I can change it on the fly. Remove and reapply, remove and reapply it over and over again. And it looks good. It picks up the texture of the paper. And I absolutely love vine charcoal for that. It's gorgeous. So what I'm doing here is going back in with the Mars luma graph Pencil by settler, which goes well with charcoal. Usually graphite pencils don't, but this one mics as well. So I'm going in re-establishing my darks, my dark accents so that as I go ahead and go over it with the vine charcoal, it's not going to disappear on me. So just went a little bit darker in the dark accents. And I'm putting that middle value modelling tone. And I call it a modelling tone because it pushes the sides back in space. And the parts of the hair that are illuminated by the light appear to come forward. While the darker parts of the hair go back and space and appear to wrap around the head. Now again, I'm thinking in terms of simple values. The head is a sphere. Some of the hair forms, cylinders or cone like shapes, simple volumes, and trying to make light wrap around those volumes using value. Very simple stuff, very effective. And wherever the fine charcoal gets into an area that I don't want it to be. I just use my finger to brush it off. Or I can use a needed rubber eraser to remove it a little more aggressively but not score the paper or damage it. A really key thing I'm doing here is squinting and comparing, squinting at the photo reference and squinting and I drawing and just making sure my values are not out of value, but are working together to accomplish the impression that the form is turning as it's illuminated by the light. The value is in the middle range and everything is kept very general and not specific at this point. All right, that's it for big for modeling. Let's move on to textures and details. 11. Charcoal Demo | Textures and details s: Alright, coming down the home stretch with key number five, textures and details will be adding tertiary and micro details. So we're gonna get specific and here we go. I'm using that overhand grip with an HB charcoal pencil and I really dig in and I love that tapered line that it gives me an append that sin to thick line. I love so much. I'm being pretty careful. And you can just see how specific the lines that I can get to create individual hairs with this technique. And then I pull off, so I kinda dig in, get that thin line and then pull off and release some of the pressure. And that gives me a thicker line as I pull off. Lifting the pencil from the paper. Great stuff, great technique. You can master it. It's not hard. And kinda Once you get the hang of it, you will definitely be using it as a go-to tool in your tool belt. Notice how I'm pulling the pencil over the volume of the hair as if it's really traveling over the surface of a tube. Imagine an ant crawling over a form. I'm thinking of that form in my mind and in my hand and just trying to make it look 3D by a kind of imagined sense of touch and Biel from my eyes and traveling through to the pencil as I have polite charcoal to the paper. Notice here the change in grip from the overhand grip to the traditional writing grip and how sharp the pencil is. And I'm just really trying to pull some single strands of hair now from the nice shapes and values that I've set myself up with. Notice two right here where I just turned the pencil ever so slightly to keep the tip sharp as I draw, the charcoal will be worn down on the surface of the paper or by the surface of the paper. And so if I keep turning it just a little bit at acts as a sharpening mechanism. So I use that very often in combination with sandpaper to keep my pencil very sharp throughout the whole process. And this way of sharpening the pencil works exactly the same way with graphite. So you can do it with that tool to, so that is no problem. Part of what makes a drawing look rich, full and built up is that push pull process that happens where you apply the medium. You take it off with an eraser, you put it back on. And there's that back and forth as the drawings talking to you, telling you what it needs and constantly referring to the reference, modifying as you go, correcting and so on. The changes that you make in the beginning of the process are large and chunky, and then gets smaller and smaller as you go. And at the end you're just making very small changes until you're finished. You'll notice that the drawing is built up layer by layer first, starting lightly and then pushing the value range darker and darker. Don't be afraid to push your value range. You've got to get some of those dark accents into the shadow areas. So that requires almost full black as much as you can squeeze out of the charcoal pencil or your graphite pencil. So get used to getting a little dirty and pressing in a little bit harder, get that depth that you need. And the contrast that's gonna work well against the mid tones and the highlights. Now I'm using that to sharpen charcoal pencil very precisely. Notice how these strokes are like carving almost as with a knife, a very sharp knife, carving into wood. Or if you were sculpting you using a very fine tool to end size into the clay. Very fine marks or striations. That's how I'm I'm thinking of it. I'm feeling over the form. I'm using this tool to precisely indicate very fine strands of hair and their positions as they fade in and out of the light. This definitely does take an extreme amount of concentration as I'm looking at the reference and trying to interpret what I see onto the drawing. So don't get frustrated. And I would recommend taking breaks often, maybe every 15 minutes or so. And look away, rest your eyes, and then come back to it with a fresh pair of eyes in 10-15 minutes. And this will help your drawing process a lot. This is another example of the layering process that I described before in the drawing, where I'm drawing over the dark accents that I drew before with the graphite pencil. And establishing them once again, because I'm going to go even darker. So. I'll need to dig in with the charcoal pencil and reclaim, as it were, some of the under drawing that has been covered by the vine charcoal. Now if you're not used to that, that might sound a little frustrating or even intimidating to have to draw something again, but trust me, it'll pay off later in the drawing. As I draw individual strands of hair, I wanna make sure not to lose the overlaps that I had planned and the groups of hair or layers of hair. Because that's going to maintain the sense of depth that I had established at the beginning in step three. Here I'm using the shoulder of the pencil to elicit a broader stroke. And as the hair rolls away into the light, whirled away from the darkness into the light. I can get a nice subtle gradation to indicate that. You'll notice here that I'm starting to stroke before I touch the pencil to the papers. So it's almost kind of a warm-up. But it's also lets me ease into the stroke more gradually. So I have a circular motion that lets me touch the paper in a tangental way, gently and then lift off gently and at a shallow angle. So it's very effective when you need to make wisps of hair. Alright, back with some lovely vine charcoal to once again darken things up and build up the drawing where some vine charcoal got white, wiped away. I can re-establish it. And where the Drawing needs to be pushed darker to establish the volume and the shadows. I will go ahead and do that with some buying charcoal here. And then go ahead and re-establish the compressed charcoal pencil. What was somewhat obliterated by that last pass. But all in all, it's being built up and it just takes a patient's step-by-step, little by little. And surprising what you can achieve that way. And it's always amazing to me to see a drawing being built up and thinking, wow, I did that. And you can have that feeling too. It's a great feeling. Some of these strokes. And here I'm just using a kind of counterbalance stroke technique. So the first stroke will go down with one angle and then I'll vary the angle a little bit and go against that first stroke. And then the third stroke will go against that second stroke. So there's kind of a counterbalance movement there. That looks a little more interesting than if I made all the hair strands go in the same direction. That will look a little predictable and it would stand out and stick out and draw attention to itself. And the viewer would know on an instinctual level that there's something wrong. And they wouldn't be able to tell what it was. But still if they feel something's wrong, then there's something's wrong in the drawing, then that we need to avoid that or correct that. If that's happening. And one of my favorite tools is the paper stumped tool. And it can smooth out lines that are really attracting too much attention. It can create gradations. And so I just use that when I can, but I use it sparingly because it can look overworked and cause my drawing to look somehow synthetic, like a mannequin used in clothing stores. You know the ones. They have all the right shapes but none of the correct texture at all or details. And so they just look totally fake. Well, if you use the blending stump too much, That's the results you're going to get because it'll smudge out all the textures and even things out too much, leaving an undesirable effect. You want a variety of textures and details in your drawing because that's how things look in the real world. If you don't have that, then it's not living. It's some kind of smooth stone or plastic or some man-made thing. Now just working on the transition from the hair to the forehead because that's going to make it look connected in real. I also work on IE or a little bit because again, those little clues help the hair look real because it's connected. It's connected to the forehead, that's connected to the ear. So it doesn't look like it's floating in space like I mentioned before. This is my third time addressing the fine hair. Here in the front. It's either been wiped away or the drawing just got darker. So I need to reestablish some of the darker groups in those layers. And then again, adding a little bit of vine charcoal to make it roll away from the light into the shadow. It's all coming together. Just have faith and believe in the process and believe in your ability to carry it through. And you will find here I'm using plastic eraser that I'm sneaking in there to clean up the edge of the drawing. And I'll show you in just a little bit how I modify it to get in there and create highlights. The connection of the hair to the ER is really important because it's at the connections where people notice if something really looks authentic and real or not. So I'll put, makes sure I care about those connections and put the necessary details there to make the transition smooth. You'll notice him cleaning up my edges. Edges are really important. Now you don't want to have a hard outline around the silhouette of the hair or layers and groups of hair don't do a hard outline. The edges need to be either hard or soft or lost. So you need a variety of edges to pull this thing off and make it look real. Here's a modification of the needed rubber eraser that's really handy for tight, chiseled, fine lines. And I'll just squeeze it between my thumb and forefinger and create a very fine tool that's kinda like a triple OT paintbrush. Alright, and I can get in there and just pull out one strand of hair. A highlight here in a highlight there is, works great. And it works especially well over vine charcoal that's very soft. So the needed rubber eraser is not going to a braid or remove much charcoal. It's not an aggressive tool to remove more dark charcoal or compressed charcoal. A more aggressive tool. And we'll get to that in a little bit. The paper's stumped tool can be used to create subtle fly away hairs or translucent hairs. Some using it here to do just that. And getting into that area just where the hair flips over and goes behind the forehead. And those those areas weren't very dark. So the paper stump or well, for that, again, I'm going to darken up and define and delineates some of these darker hair strands as the air flows over the head, across the scalp. And then just working the edge of the contour in a little bit. Now wanted to show you how I modify that white plastic eraser. And I cut it up into triangles and little cubes. So I can get into various areas at different angles that I might need to pull out very crisp highlights. And then just drag it right along the edge through the vine charcoal, which is comes off beautifully. This can also remove dark compressed charcoal so the rubber is a little bit tougher than the needed rubber eraser. So if you press hard enough, you can reveal the white of the paper. Again. It's a great tool. I love this tool and it won't ruin the paper either. Look at how that works. I'm just using nice fluid, somewhat broad strokes. I'm not laboring over it. Just kind of see curves and S curves will do. Again, just trust the process. Trust your body, trust your eyes, and go ahead and just put them in. If you make a mistake, just rub it out and do it again. I kinda think of drawing hair, like a sculptor would sculpt hair. When I make it darker, it's like I'm putting on clay and then I use the eraser to take off clay or h. So I would use the eraser to takeoff charcoal. So it's an additive and subtractive process back and forth. These locks are layers of hair can be thought of as wisps of smoke or rivers of water as they wind their way organically around the head. The important thing here is to catch the rhythmic movement in flow just the way natural hair does. And when you think of it that way it gives it that vitality in life that will make your drawing really look believable. So I've been working my way through this drawing from the general to the specific, from the big shapes to the medium shapes to the small shapes. And now that little area right next to the side of the head needs some attention in the transition. So I'll break out the paper stump tool, eraser and very sharpen pen and just indicates and very fine hairs transitioning into skin. Here the graphite pencil comes in little bit handy as well. And I just wanna make sure I'm addressing all parts of the hair and bringing all levels up to a common level so that nothing is underdeveloped and stands out against something that's more overdeveloped. I want everything to be generally at the same level of development. And that's what I'm aiming for here. Just putting in some highlights with that plastic eraser. Kinda didn't like it, so I covered it back up with some buying charcoal. But I'll probably cut it, cut into it again later. The light direction in the reference is coming from camera left. So I want the hair on the top left side of the head to be a little bit lighter than the hair on the bottom right side of the head. Now I'm cleaning up the edges and doing some edge work. Very important. It should not look cut out, but should have a realistic transition from the hair to the white of the paper. And that's achieved by some stray fly away hairs, as well as some chiseled edges. Now I'm going to use a piece of clear acetate that I bought at the coffee shop. You can buy a pat of it of nine by 12 inches. So I can rest my hand over the drawing and not smudge it. And it's nice to be able to see through and not cover my drawing with a white piece of paper so I can see everything. So I'm working that transition on the top part of the hair and creating some fly away hairs, stray hairs that make the transition more natural. And then I've got that electric eraser that just use momentarily there to really clean off some of the stubborn darker charcoal bits. And then cleaning around the contour with the needed rubber eraser. That's it for this stage. In the next video, we'll just do the final polishing and cleaning and then we're done. So let's go. 12. Charcoal Demo | Polishing: Okay, just the final bit of polishing and cleaning the drawing will be coming in with my Tambo mono eraser and just lightly passing it through the buying charcoal. And it'll just come off creating beautiful highlights. The Tambo Mano is also toughen up to go through the compressed charcoal or the really dark charcoal that's gotten into the valleys of the paper. It can take it off as well. So I'm going to create fly away hairs that go across the grain or across the flow of the hairs that I've already put down. And if you'll notice and observe real-life hair, there's always these stray hairs that are just catching the light. And doing this step really brings believability to your hair. And I'll also use the plastic eraser that I've cut with an exact dough blade to a very crisp edge and pull out some of these stray hairs as well. And you can see on the right side of the contour of the head, I've drawn some straight hairs with a pencil as well. So there are these stray wispy rho gh or outlier hair's all over the contour of the hairdo. This part might make you feel a little bit hesitant to a race out over your beautiful drawing. But just go ahead and try it. Or if you're nervous about doing it on your final drawing, do little test drawing off to the side until you get the feel of how to use the pencil and eraser and combination to achieve the effects that you're looking for. At this point, I'm pouring over the drawing and just adding those micro details and those final touches that are gonna make the drawing sing. I'm going to push some things back and de-emphasized some things and bring some things out and emphasize them a little bit more. I do want to create a little bit of a focus or focal point. So that'll be the area with the most contrast. And the other areas. I'll bring them down a little bit in terms of value contrast. So creating some of those stray hairs with the graphite pencil and refining the details. And then just making that sideburns and that transition area into the skin look nice and smooth. And that connection to the ear has to look good too. So I'll erase out just a little bit in that shadow area that was kinda getting a little too dark and deep shadows. And that's it for this demo, we've gotta complete charcoal drawing of a beautiful head of hair. And just to recap, we started with the shape of the hair. And the second key was the action and flow. The third key was layers and groups. The fourth was big for modeling. Step five or key five was textures and details. And just that final bit of polishing and touching up completed the drawing. And I'm really happy with it. I hope you got a lot from this and that it helps with your hair drawing and ultimately helps with making your portrait drawings. Awesome. 13. Lock of hair demo: Let's start this drawing demonstration of a lock of hair by identifying certain landmarks. First we have the shape and then we have the overlapping locks here, here and here. And then we have the strands of hair followed by those fly away, outlier rogue hairs which just do their own thing. Next up, the tools. We have the Tom Romano Mars plastic eraser. The needed rubber eraser, compressed charcoal, 2B pencil, HB pencil, find charcoal, a piece of paper towel, and a settler Mars plastic eraser. And now on to the drawing demo. As you can see, I've done my line drawing already in graphite. And now I'm going to tone that shape of the hair, the silhouette with some vine charcoal and just work it into the paper kinda. It's got some peaks and valleys. So want to smooth that out with a paper towel and just get that charcoal worked into the paper and give myself just a shape, kind of a silhouette to work out that's characteristic of that lock of hair. And now with that HB charcoal pencil, I'm gonna go ahead and draw in my overlaps. And just make sure that I have my overlaps clear so that it shows dimension. That's really important at this stage. Just to kind of map out where the hairs going. And you can see the layers one overlapping another. So you've got kind of the major overlaps and then there's smaller overlaps within some of these locks that I've just drawn. Now that I've got that clear map, I'm going to go ahead and expand the value range from the middle to the darks. And this is kinda the big form modelling stage, but it's each individual lock. Just thinking about simple volumes and finding the edges and hinting at these strands or even ropes of hair. Sometimes they're like tubes, sometimes they're more like wisps or like pieces of paper that you, you can just curl like strips of paper. And so I'm going to try and give them tops and sides. Wherever I can, even ridges, which you can see pretty clearly happening on the reference. And I love the divine charcoal. It just goes on so smooth and I can just take it off with my finger or with an eraser. And now this is a nitrogen vine charcoal. It's a little bit harder than the first vine charcoal that I was using, which was soft. And I would just go a little bit harder with that next fine charcoal so that it doesn't erase off as easy. Just establishing now. The tonal structure of the drawing, which pretty much is set right now, it's not gonna go away. So I went in with the charcoal pencil here and just going a little bit more into the detail with the strands of hair. Still stay in kind of general. Making sure not to jump into details to 2n. And you can really, you can sharpen the sticks of Lightroom vine charcoal to a very fine point just like a pencil. And get a lot of detail out of that. And you could also use the broad shoulder of the stick and just get a nice fat brush stroke out of that. So it's just an amazing tool. I love vine charcoal. Really think about it like painting instead of drawing. Alright, paper towel to kind of smooth things out. Get it the charcoal into the paper. And it kinda harmonizes everything. And then I have this mechanical pencil. It's a clutch pencil that holds a long piece of graphite in there. And that has its advantages over wooden pencil because you can just release more lead. And you don't have to sharpen as much as you do with, as you do with a wooden pencil. Ok, here's another 0.5 mechanical pencil. And I'll use those every so often to either burnish or smooth the charcoal out or get to some smaller details that a charcoal pencil might not be able to get unless I really, really sharpened it. And I'm kind of lazy, so I don't like sharpening my pencils that much. But you can get some amazing fine lines out of that charcoal. Don't get me wrong. I'm just working over that whole strand of hair from top to bottom and building it up slowly, making sure the overlaps in the cache shadows are telling the story that I want them to tell. It's almost like, it's kind of like this geography that, you know, you can think of it as hair or water or smoke, or some kind of rocks. It's all similar. Now I'm using that Tambo mano to really carve out some highlights here and some single strands also using that clutch Mars plastic eraser that I've cut with an exact dough blade. So it's got an angled edge to it that cuts quite nice, fine lines into the charcoal. And buying charcoal. And when you want to erase or smudge, don't be afraid to use your finger. Works just as well as a paper stump. And I wanted to erase some of that evidence of that strand underneath coming through sight is when they try to erase that. And so the illusion of that one layer above another is strong. And then once that's done and I just repair with some of that buying charcoal. And now the clench clutch pencil, I think there's probably an HB lead in there. And every once in awhile to sharpen that point up. And there's my paper stump. Maybe a little bit more aggressive than my finger. Love this clutch eraser. It's just so precise. It's like, you know, just painting with a very fine paintbrush. And notice how I didn't do any individual strands of hair or details until well into the development of this drawing, most people jump right in and make that mistake of going for the details and strands of hair. And their hair ends up looking like spaghetti and very messy, right? And it gets frustrating. So just remember that. Kinda hold back on those beautiful details and highlights and, and strands of hair until you're well into the piece and then they're almost like the cherry on top, right? They are, they are the focal point or those beautiful highlights and strands of hair that emerge out of the shadows and even appear translucent as well, that make hair so beautiful. Sure. Sorry. Right. Okay. No. Okay. Okay. Remember those? Okay. Right. Right? Right. Okay. Alright, it's time to bring it home and apply the last bit of textures and details. All that fine brushwork knows fly away hairs of rogue hairs that seemed to go against the grain. And I'm using that clutch eraser here and just cutting through. And it goes right through the vine charcoal right through to compress charcoal so well, It's almost like I'm painting white on top of it. So this is really to me like painting. And so I'll just randomly put in some nice free see curves and S curves that go right across. And don't be afraid to go over your nice drawing. Just go ahead and do it and you'll get the hang of it and make sure your eraser has a very chiseled tip that you, you know, you can cut that with an exact dough blade. Don't do it with a dull eraser, definitely won't work. Starting to look so real now, I love it. And then I'll just go back and forth with some mechanical pencils and very fine dark brushwork and also apply the flyaway hairs to the contour of the lock of hair. And the flyaway hairs make a huge difference in the believability and life likeness of your hair. So don't forget to put them in and just get that core shadow of that strand overlapping. So goes rolls away from the light into the dark. My cast shadows, correct. Just refine, refine, refine until it's done out some strands of hair with 0.5 mechanical pencil, paper, towel. This is really where the magic happens for me. It's in this detailing phase. You just put in one strand of hair and all that setup that you've done makes it just sing, makes it so real. And every time it's amazing to me. It's like a good song that you'd love to hear it over and over and over again and it never loses interest. So just stay confident. See the drawing through step-by-step, inch by inch. And it will unfold. And you'll be amazed by what you've accomplished by the end of the drawing. So I really hope this helped and happy Jain. 14. Draw curls intro: To help better understand curls, One of the best illustrations I can think of is a twisted piece of paper. So you get tight crew rules or loose curls depending on how much pressure there is at each end. And you can clearly see a front and a back to this strip of paper. And that's characteristic to curls on a full head of hair. Keeping that in mind, let's look at some real curls on a full head of hair. And I just want to point out a couple of things about types of curls. You'll notice that we have the gentle waves, loose curls, the more tight curls. And also notice how there's a clear front and back, right? Just like the piece of paper. You can also think of it like these and unfurling banner or a flag waving in the wind. Notice too, that there's an opportunity for a highlight. The half tone. There's a core shadow. And reflected light. Just like in a tube, hit by light, would be revealed by that light. So it follows the same laws of light as any object would. Just like the lighting on this ribbon, you have the highlight, the half tone, core shadow, reflected light. And also on the backside, right? You also have the highlight half tone and you have core shadow and reflected light. So on both the front and the back part of this ribbon, you'll get the same lighting, right? Depending on how the angle of the light that's hitting the object. Let's move on to drawing some curls. 15. Draw curls demo: First thing we wanna do with girls is get the overlaps, right? So let's try a really simple wave. And I'll just pick a couple of places where I get the overlap. It's basically a letter y. You can think of it like that and it's just enough information to communicate. That one portion or one section of hair is overlapping the other section. And that's quite good enough for a simple loose wave or curl of hair. Now let's do a tighter curl or ribbon of hair. And this is really where you want to get your overlaps, right? So so I use a dotted line to show how one section is coming out from behind the other. And it's just a simple series of S curves. You have a clear front and a back. Then I'll put a simple modelling tone in the form of hatching to introduce some value that shows depth and the curves a little bit better and how one form overlaps the other. Now let's push the value just a little bit more. I'm gonna bring in a middle value tone that'll end up essentially being the core shadow. And that's going to really build the illusion here. And then I'll just soften the edges because they are rolling away from the light slowly. And a soft edge communicates that very well. With Chris. Spin up the edges just a little bit. This is really not rocket science. There's not a lot to it once you break it down. So you've got that edge that's a little bit darker, a little bit crisper that's in front of the edges behind it. So I'm just re-establishing that. Making sure my overlaps are very clear. So easy. You'll get the handle of it quick. Once you start doing a few of these, I recommend you to do maybe five of these and just get used to these kind of flat tapered shapes that unfurl or twist and wind down. So we just did a very basic loose curl. Let's do a tighter kernel now. I keep coming up with metaphors for these, but I like thinking of this as like a winding staircase or a water slide. The surprisingly quite a few straight edges in something like this. Especially where the curve is really acute and takes a quick change in direction. You can use a straight line for that side part of the wall. And again, going back to that most simple idea of the strip of paper and just twisted where you see a front side and a backside. I recommend drawing this over and over so that you can draw it on command. And it's very clear because this idea is used in lips, in eyelids, in curls of hair and many other things. So it has, you know, that front and back or top and bottom idea. Once you do it, it'll be very clear. And all you do is just string those together so that there's several curls or corkscrew turns, spiraling tighter and tighter as they go down, or they could remain loose. But now that we've connected all the curves, I'm just labeling the fronts and the backs. So you can see clearly the anatomy of this curve. It's kind of a compound curve with three turns to it. And then all you do is just shade those according to where the light is. And just use a highlight half tone core shadow, reflected light. And it will turn into whatever you want it to be. In our case, we're interested in having it look like hair. So I'll put strands of hair in the details. Very simple, not rocket science. You can see with just a hint of tone at already starts to look 3D. And I just love creating that illusion of 3D. And I'm doing this digitally in Photoshop, but it's really the same basic laws of light. The same basic Using overlap to create depth. And then you're just adding detail in terms of strands of hair. That's pretty much it is just the same when you're using pencil and paper. After you do a couple of these, you'll have it down. No problem. And that's so cool because what if something was mystifying before? It's no longer a problem and you've mastered it. So that's really all there is to it, to curls. Just take what you learned in the full head of hair demo and a lock of hair demo. And just apply it to these curves in terms of the lighting, in the detail. And it's gonna make a big difference in your portrait drawing. 16. Haircuts female: All right, so now that you know how to handle a full head of hair traditionally, Let's work on hairstyles and haircuts. And let me break down this file for you. So this is the practice template, and I've got three squares along the top. And those are these here. And that's what a reference is going to go. And I have both male and female to practice with. And so let's put our reference in and I'll show you the process. So let me grab that here. All right, so now I'm going to drag the reference into the document. And I'm going to hold the option key and click right in between these layers. And that's going to clip this photo reference to the gray square, right? And then I'm just going to scale it down so it fits nice there with clean borders. All right, The first thing I'm gonna do is call up a new layer and paint the hair mass, right? So just the shape of the hair, the silhouette of the hair. And first of all, I'm going to notice that she's got blonde hair, so it's not going to be dark value. It's not going to be light local value. The local value's going to be somewhere in the middle to light, let's say 40 percent gray. And I'm just going to paint it on really flat. I'm going to do is quick and dirty here as quick as they can. And that hair mass, the shape of the hair mass is essential to getting a likeness. So if I'm a little bit careful, you know, I can get that silhouette. I think I mentioned this before. If you know, if your friend has really long hair and they come over to your house and they've got a buzz cut, you'd be shocked, you might not recognize them. So it has a lot to do with how people appear and had a lot to do with their luck, the overall kinda style and feel. Sometimes it's a shock if they shave all their hair off, right. Okay. I'm just coming through looking at the undulations of the contour. Just try to put it down here quick and dirty. And I want to work flat. The easiest way is to kind of go through step-by-step so get the shape work flat. It's easier to see the contour, the silhouettes and the proportions that way. And I won't get suckered into drawing details, strands of hair. That would not be good at this stage. Oops, come out a little bit. Okay. She's got an S curve curl here. I don't have pink curls yet, just get the shape. So I'm not painting the light yet, right? I'm painting the local value and shape of this. We're going to get to the light in the next couple of steps. I think it intrudes onto her forehead a little bit more into the temple. Okay. Thanks. All right. Let's erase. And we get a pretty good tight silhouette. You want the edges to be tight, crisp, not soft, not yet. Right? I'm gonna go with this. What's step 2? Step 2 is going to be looking for the flow. So let's analyze the flow like we did previously in the previous exercises. What is called the New Layer. Little bit darker. I can come around and kinda say, you know, where, where's the action happening? Where's the flow? In very simple terms, we have flow towards the back. We have a flow from the crown of the head down towards the back. You've got kind of a wavy thing here. Just a real simple analysis that seems to curve this way. So it's sort of this nice S curve. Series of S curves. We have a little, a little gap right there. Another separate curve, K over here. We've got a curve. Curve. I'll write this way. So I'm just doing a little simple map for myself. This is just a simple C curve flip right here. You see the top on one side and we see the bottom on the underside. And then we've got the part right there running across the top. Okay. That's good. So now I can just come through. I'm gonna take, I'm gonna call up a new layer, preserve this if I need to go back to it now, I'm going to kind of do some big form modeling. So I'm going to take this layer, lock it right now, that'll lock the pixels. So I won't be able to paint on the transparent pixels only on the pixels that have been painted on a node. Another way to do that is to command or control click into the icon and the layer that'll select it. You can see the marching ants. I'm going to deselect that now because I have the lock on. And so I'm gonna do work from dark to light. So I'm going to find the, again, big form modeling the major forms. Then I'll work, you know, the primary forms to the secondary forms to the tertiary forms. So it looks to me like the light is camera right, slightly above, right. So that light direction is from the top and from the right. So let's just bring it gentle, soft sense of everything on the left. And moving away from the light gets a tone because the light isn't getting there. So this is kind of a very first step. And taking it from 2D to 3D, kinda global, if you want to call it that big form modeling. Let's get that part where the hair comes into that grows out of the scalp and goes into the light, right? Then here, under here, definitely gets a darker tone. Part of this curl on the right side of the face gets something right there. And so we're getting the impression, right. The the general impression of the waves of the hair, of the wrap around, how it wraps around the cranium. You can keep it very shelf like a top side, top side. So your, your strokes can just be very blocky, very linear at this point. Okay. So what I meant by that was your strokes can be, you know, record the planes right. As it moves toward you or this way and that way, right. Tucking in tops, sides, unders. Okay. So I'm not trying to be too precise. Now I've got a big form modeling in. I'm going to go for my darks, my occlusion shadows and see if that well, I know that's going to help me. So again, keeping it I'll keep it flat. Crisp edges. Simple. This may be places where the hair gets darker or it could be shadow, right? Whatever it is, it doesn't matter if it's shadow or if the local color of the hair gets darker, It's all a dark. And so I'm just going to put it in the dark family. I might do a couple lines here just to reestablish the flow. Because I do see some darker opportunities for a couple of dark strands that can help me with that. And then I do have it a little bit here. It gets a little darker, so I'm just going to go darker with a soft brush in here. Not too much. Don't get too into the details yet. Just that general shape and that flow. Okay. Well, let's go stay in the darks and establish this stuff a little bit more. Make sure I get a nice shape there. Do not draw hairs. That's for later this shape. And you can see that shine on that curl. Let's see curve floating across the curl. That's what I want to get. The sense that the light now coming into play, moving across the form. And how can I most efficiently and easily record that? Okay. That hair is moving from the top. Light is moving towards the shadow. Okay. That's good. Anywhere else I can sneak in a bit of dark. Underneath here. Yeah. Wave k simplify, simplify makes things much easier. All right, no, I'm gonna go a little bit to the light side and put some highlights. If I'm going to call up a new layer and put some very simple strokes down for the light stuff and locket. Okay, I'm going to lock that. I'm going to clip this to that layer. Okay? And that's just going to allow me to paint within the borders of the layer below it and not outside. So just some very general light areas. Especially they're here. They're a little bit here to where it seems to come out. Okay. I'm going to keep it simple, keep it flat. I'm going to blend this stuff later. Kid, Let's do a couple of hairs coming out of the part. Just a couple of hairs coming this way. All right. So now we'll come back in here. I think I want to make this part a little bit bigger. Okay? Now I'm going to try and use a mixer brush, mixer brush, and select all layers and then use it just to, to blend. This is going to give me that a bunch of hairs without having to really draw them. Say here. Let's say k and I'm just using the flow wet load mix. The flow is turned up on the web is half. Load mixer, all that we have just about. And I'm going to turn off the clipping so I can go outside the boundaries of the silhouette. But let's, let's come in and kinda follow with, this is doing here is I'm just taking the light and dragging it into the dark. So I'm using a big brush and then a little bit smaller brush. And that way I can move from kind of the bigger shapes into the smaller ones. And then the micro details. Get that sense of strands of hair. The light, the flow. Pretty, pretty easy. Okay, this one, I'm just going to drag a few out, not too many. If they're really concentrated, it can get tricky, keeping track of the curls. And you can see how the hair gets a little messy back here. So I'm just going to mess it up a little bit, right? Some of the edges are tight and some of the edges get a little lost. And that's what makes it look loose and real is those sort of flyaway hairs. The areas where the Herik gets, gets a little bit wild and makes it look natural. Let's move up here. Capture some of this stuff, right? Magic, It's nice. Works really well. And if I want to, I can detail out all this stuff. I'm going to come back in with a little bit darker. So I'll go back to my normal brush, make it soft. Come back in with a little bit darker here and there. Just to get into those shadows, the contrast, little bit of softness in the transitions. So you don't have to draw so many hairs that's not important. What's important is the shape and the value. All right, that's good enough for female. Let's do an example for a man's haircut. 17. Haircuts male: Let's do another example this time let's do a man's haircut. Alright, so I'll close this out and we will jump into the male side. Okay, let me get my reference, which is here. And I'm just going to drag it into here. Hopefully it, Let's see. Clip this hold Option and clip it. And that way, I'll just be able to get nice clean borders from the gray box as we fit this in here. Okay. So let's see. So this time we have a dark haired male. And so again, I'm gonna go through the steps. What are they? Find the local color if I sample it, you can see here it's, it's, you know, it's a dark brown, let's say 70 percent gray. So I'm gonna go ahead and paint this in. And we're looking for the mass, the shape of the hair mass. And I'm gonna try and get a nice tight flat shape in here. That way I can get a nice clean selection. Then once I get that in, our next step is to analyze the flow and maybe some of the overlaps. All right, that looks pretty good. So now let's analyze the flow. We just adjust this angle here. Alright, what's the flow doing? Well, take a little bit lighter so I can draw over it. And that'll, that'll disappear during the course of rendering the hair. So I think we have kind of one group of hair here. And then underneath that is just this piece here. And this is just flowing this way. Alright, not a problem. Now that I have a nice clean selection, I can just lock that and start painting. So the first thing I want to do, let me just bring this back. Capacity, download it. First thing I wanna do is do my big for modeling. Well, here's, here's pretty dark, so I can't go too much darker. But let's look at where the light direction is. And that's my first step. After getting the silhouette. What's the light direction? Looks like? It's pretty much kinda straight ahead. Select the camera left. So I'm gonna get a soft brush. I'm gonna go maybe a little darker where I can push the sides back. Just very rough, right? Very broad. Big impression. Big angles, you know, no details. Just get a little sense of the big forms and what those are. Okay. And maybe that's spit, easy. Okay. And when I've done that, the tone that I put on previously, which look dark, that looks a little lighter because the value is contextual simultaneous contrast. So that's good. And now let me see. I'm going to try to go a little bit darker and divide top piece where that flow is going to take an opportunity to do that. And maybe here on the temple on the right side, that goes a little bit darker. And maybe here and back. You know, I'm not all the way to black but close. All right. Now, which I wanted one thing right there. There's dark, maybe shadow onto the forehead. So I want to catch that. Keeping it real simple. Keeping my shapes flattened graphic. Notice how the highlight wraps around the head. And you know, in this direction like that. To the hair is taking the shape of the cranium and the light is just showing that form, how it wraps around like a, like a sphere. Right now I'm gonna go with my lighter reflections. And I'm just going to put a very simple stroke. And the temple to the back of the head. I'll put a little highlight here, something here, and some some light here. I'll see if I can stretch that as far as I can go with that. And then this is a little bit lighter as the haircuts thinner and you see the skin coming through. All right, Now let's get our brush here and see if we can use the mixer brush to just pull some strands here and make it look, look cool. I did that all on one layer. So let's see if that's going to work. I'm just going to zigzag my way through there. And it looks pretty cool. Let's check. Always checking the reference. Okay, let's do it. Do it here. How decrease the size my brush a little bit, get some of those smaller things. Always going from the general to the specific. I've got my flow up, my mix load wet, it's all up. If I need to, I can come in with a very small brush and do some details. Some individual strands here and there. And so that's how easy it is for a dark haired person. Alright, so take some time to do a few female hairstyles and a few male styles. Use this template is practice template to do that. The next thing we'll do is blend the roots of the hair into the forehead, side of the face and skin to get that really integrated well. And then we'll do some of the flyaway hairs and softer edges on the contour of the hair. 18. Haircuts roots: All right, in order for the hair to look really good, it has to integrate. And one of the biggest mistakes that students make beginners make is that they stop the line of the hair rather abruptly into the forehead. And they don't look at the edges and don't study how hair grows out of the skin. And in some areas, it's very soft. Very soft here. And in some areas like on the contour, It's very hard edged. So the hard and soft edges are instrumental in making this thing look real because that's how real hair is. So let me unclip this and bring it down. And let's do this real quick. A couple ways to do this, right? As far as tools, I can use the smudge tool and have a somewhat hard edge. Just a hard round, let's say. And then I can take the opacity and make it around a number five or so. And I can just smudge the edges like that, right? I can go back and forth. I want to put some shape dynamics here that I can get the thick and thin, right? So that works really good. And you can get a really nice, fine, I mean, very fine integration. So it blends right in. And blonde hair does that blends right into the skin? Right? So I want to get the roots of the hair blended in and I just want to make my edges soft where they need to be soft. So that's one way is with the smudge tool. Okay, just a simple round brush. Doing that. The other way is to go to the paint mix tool For the mixer brush tool. And again, I can smudge things that way as well. And I can do it on a different layer. If I don't want to completely mess with that, and then click this layer stack thing. And then I'll just move it around. Won't really paint anything on there. Okay, so just looking at observing and seeing where is something a hard edge and where's it a soft edge? And just doing exactly that. So simple. Right here, I'm just kinda zigzag back and forth. Now at this tool doesn't work as good, then I can take the smudge tool and go back to that. But, you know, it, it works pretty good. See that? So if you have a brush with a little bit of texture in it, maybe not a solid round brush for this doesn't work very well for you. Okay, So I get the roots kinda n, I've got soft deadline, hasn't got hard edges. Specially softer. Where you see the hair growing right out of the scalp. Hair is coming down over, then you would have a hard edge. You could possibly have a hard edge there. I'm just going to make this soft edged. Looking good. I can move this over even there's a lot you can do pushing and pulling with these brushes, the smudge brush and the paint mix or tool, paint mixer, brush, mixer brush. And then what I wanna do is some flyaway hair and see it's a softer edge because there's a shadow there. Let me just kinda try and reflect that in here. Get a little bit of softness. Okay. Kinda goes soft into a very hard, crisp edge there. Can this one, I'm going to go back to my smudge tool and really kinda work some of those finer edges and transitions. Let's go back and forth and bring some of the dark into the light. So the light into the dark. And you'll come to a kind of a balanced point. And you can mess with the opacity, right? So it's less interacting, less, right? Or if I am on key number two and it's barely moving things around, if I press nine, it's really going to move things around. Okay, so lower opacity, smaller brush, you'll be able to get details right now when it gets some of those flyaway hairs going in. So these are really, really great. So if you look around the contour, you'll see these hairs just breaking the contour. And they're just kinda fly away rebel hairs, right? So. I'll make a small brush, bring the opacity up to, let's say eight. I'll just go around, right? I'm going to use my Smudge tool, make it pretty small. Maybe opacity eight and just kinda go round in. Kinda start to pull hair out and break that edge. That's silhouette. Here and there. To some random stray hairs. Even inside. You can have some of that, right? Real simple. Don't have to think. This kind of a fun part. Don't do it too much, right? And get a little bit out of control. And then if it gets a little out of control, you can just sort of smudge it back into submission a little bit. Calm it down just a little bit, right? So it's always push and pull, going back and forth with this stuff. And then I can add a highlight. Maybe there might be room for highlight, especially right in front there. I can get real specific in one little area. And just pull out a couple of special hairs here and there. And it makes it look like the whole darn thing is rendered when it's, when it's not. It's funny how that works. If you show people detail in enough areas, which is not much, Though, the brain will register that that's completely, the whole thing has been detailed and rendered everywhere. So we can use that to our advantage. All right, that's it for our first example. Let's move on to a second example using a male head of hair. So I'm gonna take my paintbrush tool, my mixer brush tool, and just see if I can get in there and start moving stuff wherever. Integrate the roots. They have very important. If you don't do that, your hair is not going to look connected. If it doesn't look connected, it's not going to look. Real. People will not buy into it. So this is really part of making your image believable, your portraits believable. And you can see in some areas, right? The edge is hard. It's hard, but in other areas it's soft. If as long as you make those distinctions, you're good. You can see it doesn't take much at all. Bring some of that dark into that middle dark. Then we have a couple of strands just coming right down like that. Maybe to break this up a little bit. Just so easy, just so fun. And you can do this with your eraser, with charcoal, with graphite. Same thing. Just kinda smudging things around and then reinforcing areas of detail. Making soft edges, hard edges. All the stuff can be done with any tool. All right, so now I'm going to go ahead. Since I've integrated the roots, I'm going to do my stray hairs. And for that, I'm going to use my smudge brush. Once again. See if I got my settings right. Shape dynamics transfer. Let's try that. Okay? And then I'm just going to just do some random stuff. Don't even need to look too much what it's doing and see, okay. My brush a little bit smaller. And just make these little flyaway hairs. Let's get a little too crazy. How you would do is just check your edge. Is it hard, soft? Is it broken? And then just draw it like that, painted like that. And you can see it just comes to life. And amazing, amazing way. Okay, that's it. That's how you get a realistic, believable head of hair. And you can go ahead and practice doing your male heads or female heads. And if you get stuck, I have some solutions for you. Already painted. All right, that's it for integrating roots of the hair and adding flyaway hairs to make your hair look believable and alive. 19. Tight Afro: Alright, in this video, I'm going to teach you how to draw an afro first tight and then a more loose afro. So before we begin, let me point out a few important things to get the drawing, just write. First, let's go through the values which are important. We've got a local value which is pretty dark, maybe 70 percent dark. We have a light value. And we have a dark value. That local value is just the color of the hair without regard to the highlights or shadows. Now in order for this to make it look 3D, in other words, accentuate the form, the round, spherical nature of this. We're going to use value. So we're going to put on the light value, which is probably around 50 percent gray, and the dark value, which is very nearly black. All right, second is the light direction, and the light direction is from behind and top. So it's camera right from behind, coming from the top. So it's kind of a back-light little bit, little bit. We can tell by the curve of the terminator, right? And we're seeing more dark than light. So that tells us the light is behind and above. If the terminator like this, that means the light is more towards our point of view and it'd be in front. Okay, let's also look at something very important, which is the material. And that's going to indicate how light interacts with this material. So the material is Matt, that means it's low reflectivity. Ok, and there's going to be subsurface scattering. Now, a matte surface is not very reflective. That means that the photons of light are going to interact with this, not just by bouncing off. Okay? They're going to interact with this hair by entering in and scattering around in different directions before bouncing off. Okay? And so you have many photons coming in and they're bouncing around and, and then coming out. So you get the quality of sort of softness, right? And that's subsurface scattering just like a candle. The flame lights up the wax of the candle. That light from the candle flame is entering into the wax and bouncing all around and then coming out, right, so that's subsurface scattering. Another example of that is if you look at someone's ear when they're backlit by the Sun are very bright light that IR lights up orange, fiery orange, right? Because the light's entering into the cartilage of the ear, the flesh of the ear, lighting it up. And then out comes a orangey colored photon. Okay, so that's what's happening here. So since the hair is a matte surface, we won't have a lot of value range, okay? It'll be a very narrow value range. Something like this is a reflective object like a crystal ball or glass ball would have a very bright highlight area and a very clear terminator, reflective light and cast shadow, so we don't have that, so we've got a narrow value range. Now, another thing is that I'm going to show you exactly where to put the details. So the area that's lit up by the light is going to show the detail plus the texture. And I'm only going to put that in this area here. Alright? When it turns to the core shadow, which is basically in green here, kind of the core. I'm going to put less detail. And definitely here in this area. So maybe from, from here to here in the shadow. I'm going to put less detail. Alright? Now that's going to give it, that contrast is going to give us that sense that this is a full head of hair and highly detailed because we've put the contract, we put the detail in contrast with an area of flatness. And that's sort of plays up the illusion of detail then gives us that believability that we all want our drawings to have. So let's jump into the demo. Now the first thing I'm gonna do is lay in an average dark, which is basically the local color or local value of the hair. Now, I'll be laying this in just like I would with a graphite pencil and I'll use the shoulder of the pencil. To get a broader stroke and not the tip. So I'll pick my mixer brush tool and this particular approach with some texture on it. And I'll just start to lay it in in one direction and just make it as flat as I can't. Just adjusting the flow here. All right, So here I go. I'm going to try and make my strokes organized. Just keeping kind of parallel because I don't want a lot of noise. I just want to see the shape. So I'm going to put it in just as flat as I can. The key here is to just take your time so as to ensure there aren't too many light gaps between the dark lines. Now what I find helpful when I approach it drawing is to do it in stages. So I'll go through the drawing 234 times. And this has a couple of advantages. One, it helps me to control the value. And number two, if I change the angle of the lines a little bit each time. And that gives me a sense of the material without having to do much work. And I'll select the look of it. All right, The drawing is starting to take shape. I can see the silhouette and the design. And that's important because at this stage, if I need to make any changes or if anything's wrong, now's the time to do it. But it's looking good. So let's move on to the next stage, which is to lay in the darks. And I'll do kind of the same thing. I'll select my value. And I will use, if I was using graphite, I use the side of the pencil for a broader stroke and I would just subtly start to dark and where I feel the terminator is and work down into the left, blocking in the shadow. The secret here that I find useful for drawing so many textures, let alone hair like this, is to use small circular motions. And I just build up the value and the texture that way. I'm going to work the edge where it meets the forehead and just make that a little bit darker. And then start to integrate some of the darks from the core shadow into the lights. And just generally go over the whole area and bring everything up to a common, common level. And I'll also start to integrate some of the darks into the lights, creating a more smooth gradation. Now once I'm done with the darks, I'll start to work on the light side. And using that circular motion that I talked about before, I'll start to introduce some lighter values. Creating volume and form, and also detail and texture. So that's circular motion gets the detail and texture part. And that's why I like it so much. And I'll just be working very slowly methodically over the whole area and bringing some of the lights into the core shadow area to get it to look like it's really round is turning. And this phase of the drawing really takes a lot of patients. So you'll be gauging areas one against another to see if the transitions are smooth. To see if one area has more or less detail than another area. And sort of averaging those out. So it looks smooth in terms of the detail and texture. And I'll just move forward with this process until it looks done. Once I've accomplished the illusion of form. And I'm feeling pretty confident about that. I'll move on towards the edge assessment. And I'll just go around the contour of the outside of the drawing and look for hard and soft edges, keeping it very simple and just using the smudge brush where I want them soft and erasing where I want a crisp line up the edge. I'll integrate the hairline into the forehead, into the sideburns. And this is really the key detail for making this thing look believable, is that integration. You can use your finger if you're drawing with traditional media, a paper stump. Or you can use the pencil to create a transition or a gradation. And that's all just ask yourself, is this a hard edge or a soft edge? And then at the very end, create some flyaway hairs that breakout from the silhouette of the hair. And then you can call it done. All right, In the next video, I'll give you my best tips on how to draw a more loose afro. 20. Loose Afro: Okay, In the last video, I did a drawing demo on a tight Afro. In this video, I'm going to do an Afro that's a little bit looser with some curls. I'll do it in black and white this time. And everything is basically the same. The local value, the light value and dark value are the same. The material is Matt, which means low reflectivity subsurface scattering. The only difference is the lighting, which is from camera right from the top three-quarter front. Alright, so let's jump in. I'm gonna do this drawing as if I was using a big thick chunk of vine charcoal. So I'll grab a thick brush and use the same exact process that I used in the last one. With vertical strokes, I'll mass in the average dark or the local value of an overall average of the value of the hair. And then I'll put in where I feel like the core shadow is where the terminator, and again, doing this very slowly to enable me to control the value and keep the initial mass in of the tone very flat. And that way I can see if the silhouette and the design are working. So again, I usually go through a drawing, you know, two or three times. There's like different phase is that you go through and build it up slowly. All right, so now I'm starting to give it some 3D form and finding the edge of the core shadow and defining the boundaries of where the light and dark are going to be and see if that looks good with my design. Now the photo references there and I can lean heavily on that. Or I can make some changes and change the design to my liking. And so I'm just going to allow myself to experiment a little and see what works. I'm going to expand out the value range a little bit in the darks. And that's going to also increase the sense of volume just a little bit. And some treating it like it's got these planes. It has a top plane, side plane and an under plane, where it sort of rolls away from the lights into the darks and you can see me putting on that occlusion shadow, the cheek and the bottom of that left ear. Then strengthening the core shadow a little bit and the occlusion shadow right next to the forehead. And then massing in some very basic sense, kind of a texture along that core shadow. Keeping it very general, very loose until I get everything spaced and placed where I like it. Then I can go for the details and textures. But not before. Alright, now that I've got the blacks and darks pretty well situated, I've got the shape's values and some of the edges where I want, I'm going to start to go for the details. In the light side. You can see I've got a pretty good value range. I've got my light, my mids, my darks, and the area next to the left ear just below it to a little bit lighter, right? That's the reflected light. So I'm not copying the reference exactly. Letting that reflected light, that bounce light come in so that heightens the illusion of volume in the hair because it is very spheroid. So I can go ahead and do that. But you can do that trick with, with anything, hair, the human face. The body, doesn't matter because it follows the laws of light. So I'm definitely in the rendering phase of the drawing now. They saw it. You'll notice I go back and forth between the darks lights back to the dogs, the minutes. So it's just a process of bringing the drawing up. In each area, kind of together. That keeps things looking good and you kinda won't lose control of the drawing that way. Kinda work slowly everything up altogether. So now I'm using that circular motion that I talked about in the last video, small circles that can help both buildup tone and build up texture and details. In this case, it's curly Afro hair, so the small circles work very well. At this stage of the drawing, typically, things slow way down, the funds kinda over and you've just got a sort of buckled down and start the detail work and just stick with it until you're done. It takes patients, but I know you can do it. Just continue to believe in your skills and your ability and press on through. And you'll see that you've made it to the finish line. So I've been working from the general to the specific, from big to small. So we did the primary shapes, the secondary shapes. And now I'm looking at those tertiary shapes and micro details, really honing in on those micro details and starting to push in, adding dark tones. And when I push in, it's a shadow. And the things that are light around it look like they're coming towards the camera or kind of popping out, right? Like proofing out like hair would do. Some starting to find individual curls. Places where I can find a curve or a wave. And using that circular technique in combination with all these things. And it's really starting to look round. And I just love this process. All the hard work has paid off. And you can sort of feel the excitement building as you conceive this thing on a flat piece of paper. It's awesome. Now once the detailing and texturing is done, we're going to really lay it on thick and start the edge work. And this is the part where you get the most bang for your buck. At least I feel that way and I'm going to grab a smudge brush and just start to work the edges. All I'm asking myself is, is it a hard edge or is it a soft edge? If it's hard edge, I keep it crisp and if it's soft, I make it very soft or very lost, like a cloud just trailing off into nothing, right? So you've got those three edges to work with. You've got a smudge brush. You can smudge out into the background or back into the hair and creating the silhouette. That's, I'm looking at the photo reference now and finding the details on that periphery of the hair. And trying to really match that a little bit more. Because if I get this right, it's gonna be, it's gonna sing. And that's really fun for me. That's great payoff. So I'll start kinda with a big smudge brush. Again, if you're using traditional media, you can use your thumb. Paper towel, a paper stump, or you can use a very sharpened HB pencil to create gradations with the pencil on its own. The edge work is really the secret sauce that most people don't know about. They don't know how powerful it is. And I find that it's the easiest thing to do, really out of all the things that we have to juggle to get this thing right. This is the easiest one and I get the most bang for my buck when I do this part of the, of the drawing. So nearing the end, I'm happy. I'm excited and I'm just trying to dial it in and get it to really sing and to really look 3D. And so far so good. The edge work is not only working the outer contour of the hair, but it's the inside contour where it interfaces with the skin. So I've gotta make it blend in with the forehead, eyebrows, the cheek on the dark side, and the light side. And just again ask myself, is this a hard edge or a soft edge and make it accordingly? And then kinda once that's done, I'll go around the whole outside and do those flyaway hairs. They look so cool and they really complete the drawing. So guys, that's about it for this one. I hope you enjoyed it as much as I did doing it. I hope you get a lot out of it. And as always, thanks so much for watching. 21. Braids & pony tails demo: All right, Our next haircut topic for discussion are braids. Don't worry, if it seems overwhelming and complex, I'm going to break it all down for you right now. To me, braids and pony tails, they're basically the same thing. But we're going to first look at the anatomy of the hair, what it's doing, how it's flowing. And braids are basically two or three strands of hair interwoven to form basically a chord or a braid. So let's look at that at first from the root, where the braids emanate from the back of the head, you have triangular like shapes and there's one on the left that's a little bit higher than the one on the right. And then the one on the left a little bit lower. So they're staggered in their configuration and then the braid emanates out from that. So you can see in green, the braid itself is a series of C curves, C1, C2, C3, as you can see labeled there. The first one, C1 is a little higher in the chain than C2. And C2 is little higher than three. And c3 a little higher than four, et cetera, all the way down the chain. So I'd like to think of them as interlocking, see curves or gesture lines all the way down. No problem. So far. Let's look at the pigtails and see what they have to offer. And I found a pattern that was really helpful to me. And it's the letter T. So watch for the letter T. And I've drawn, drawn them in different colors so you can see them very clearly. See that that's the pattern. It's interlocking letter T's that connect and form the braid all the way down to the end. Alright, so what's interesting here is that it looks like to me the braids on the left, when I compare it to the pigtails on the right, it's a little bit of a different configuration. And I had to think about this for a while to tangle, no pun intended the puzzle. So on the left, the braids look like C curves that move down the strand of hair. And they move towards the center. Right? Like gesture lines interlocking. And those gestures move towards the center. But when I looked at the pigtails, it seemed inverted. These interlocking see curves, they actually kind of start from the medial border and move laterally towards the outside. So what's going on there? They're still interlocking see curves but inversed. So if I turn this upside down, it resolves everything. And the C curves interlock, and they move sort of towards the center, just like they do with the braids on the left. Let me just show you that right now. See how the C curves go towards that medial or middle border of the braid. So it's exactly the same, only inverted. So I don't know why that is. There is a perfectly good explanation, I'm sure and somebody who does hairstyles for living would know. I don't know. But nevertheless, I'm going to treat them exactly as the same because essentially they are. So we have one solution for the braid, for the pony tail and for the pigtail. So let's get into how we would draw one. So I'm going to begin my tea pattern. And I'm going to start with the horizontal crossbar of the t and then make the descender the next T. And the sequence is going to start from the middle of that vertical descender and go out and create another crossbar of the t. And then a descender. And then start from the middle of that vertical or descender part of tea and do another horizontal and just repeat, that. Might seem a little complex at first, but trust me, you'll get it. So no matter what I'm drawing, I start with a gesture and I capture the action. In this case, it's an nice flowing S curve. And then I'll start to fill in the details. Let's begin the t pattern and just loosely sketch it in right now. So there's the crossbar of the t and then the descending part of the letter T. And then I'll start the next one in the middle of that vertical line or the descending part of the letter T, and just continue down. Alright, so as I go through the next pass of the drawing, I'm going to round out the corners and make it look more like hair instead of basket weaving. And to do that, I'm just going to take the edges and again, round out the corners and make them into kinda little teardrops shapes. And so just repeat that shape all the way down. And make sure the hair wraps around and tucks in one to another like a weave. So when we get to this point, there's usually rubber band or a hair tie. And then we get to the little part of the hair that looks like the end of a horse tail or the end of a pigtail, something like that. So you can make it a triangular shape or a tapered shape. Just keep it simple and maybe add a few extra flyaway hairs and you'll be fine. All right, the next thing I'm gonna do is painted up somebody give it a local color, which is kind of dark brown in this case. And just put in the silhouette, the shape is most important thing. And then I'm going to put in my darks, my darkest darks all the way down. And just hard edged, simple shapes, flat 2D. I'll make it 3D later. Then come the middle tones and the highlights. Everything's flat in 2D. Then after that, I'm going to take a blender brush, a mixer brush, or a blending tool and just blend the darks into the lights. And this tool, either one of those works. And if you have a textured brush, textured round brush is fine. It'll just drag the dark into the light or light into the dark head. It'll look like individual hairs. It's a very efficient. Again, you could do this traditionally, you could use the paper stump or a kneaded rubber eraser and your pencil to achieve the same effect. So it's basically smudging. Some also tightening up the edges where individual strands of hair go underneath or over top each other and making sure that edge is crisp. Whereas the hair going from light into the dark is going to be a soft edge. And now I'm putting an individual hairs. That's the details, that's the last step. And you can see how good it looks when you follow this kind of procedure, you'll get a great result. So once I put in the individual hairs, then I'll go back to the mixer brush tool or the smudge tool and just smudge them again so they look they look good. And that Glenda in. And for the tail of the hair, just going to add the lights and the darks, smudge them and make sure the edges are correct. But his follow the same procedure as before, and that's pretty much it. So next thing I do is kinda clean things up. I'm going to take that silhouette, clean it up a little bit. Let's just erase out along the outside and then add some more hairs. Will take a very thin brush, add some highlight color to it, like a light brown, light tan. And just sort of randomly going with the flow of the C curves, right? The gesture of each individual hair. I'll just go over that and then I'll take the smudge brush and lend them. And I might add some black, dark individual hairs to blend into the light as well. So it's kind of a push, pull back and forth process. And then again, clean up the silhouette. So it looks characteristic of a hair and the edge is crisp. And notice how the edges for each individual hair, each individual group of hair is soft. I'm just going to fix up the tail of the hair here. And then I'm going to add some flyaway hairs. That's what the final details, the micro details of this process will make this really stand out and look realistic. So that's our last step in the process, and that's how you draw and paint pigtails and pony tails.