Cool Hair Things to Draw

Hair is very important for our characters, lending a personality of its own, so cartoon pilus exactly as we imagine it tin exist a real claiming.

But there are many different approaches we can take! For me, the most important rule is to empathize what I am drawing, so that I don't become lost halfway through.

1. Structure and volume

First, we must define the areas of our grapheme'southward pilus. Mark a reference point or a route which divides the hair can help us. For instance, at the hair parting (1). From there, it becomes easier to run into the direction that each section will take (ii).

Every bit my drawing advances, I ponder some possibilities. This character will have straight hair, cut just over the shoulders. I think no bangs would be better, but I want some pilus to cover one eye, and the tips of the hair to scroll inwards.

I get-go to describe these lines. I might alter my mind afterward on, but this stage allows me to see more clearly.

The caput is a sphere. If nosotros don't accept that into business relationship, the drawing could start to flatten. This is a adequately common error. Let'southward have a look using a mesh to demonstrate:

Each hair comes from a specific bespeak and grows in a unlike management. Even when the hair is very long, the gravitational strength eventually brings it downward.

Hair locks must somehow wrap the head following the curves of its surface. Check the difference betwixt these two images. Both circles have a layer around them, only A looks more like a flat shape, whereas B looks to be more spherical.

Hair does not glue itself to the caput. Let's go on in listen that in that location is always space between strands and over layers of hair, which builds up to create volume.

• The light-green area (1) indicates the gap between the caput and the border of the hair.

• On the back of the caput (2) in that location are several layers of hair, simply since it'due south directly pilus, the edges are almost unaffected, which allows a very subtle falling around the cervix.

• The book varies depending on the amount of hair on each side of the head (3).

Many artists choose to simplify the hair using basic shapes, or anything else that helps them define the book, the angles, and to hands approach values. Then they add details to the surface.

Job: I always recommend learning using existent-earth references. Have some photos of hair styles and identify where the locks are coming from and where they are going. Yous tin besides draw their edges.

▲Animated GIF

2. Shape:

Some drawing styles need more than effort in the detailing phase than others, only information technology is e'er necessary to accept into account the standard characteristics of hair. Permit's await at it this way:

The overall hair is a set of many locks > locks are a gear up of strands

• Hair does not form a compacted shape, nor a consequent one. It is very lite, so when the character moves, the current of air, the humidity, or anything that surrounds information technology tin can bear upon its silhouette.

Let's come across some examples, step by step:

Straight hair:

• My first step was to draw the edges of the main lock (the i which volition be the base of our drawing), following the direction in a Due south shape. And then I filled it in to create its silhouette.

• The niggling strands on Step iii follow a very similar management, but slightly more than pronounced, enough to add dynamism to the shape.

Finally, I added some strands which movement in completely dissimilar directions than the original 1, to residuum the composition and make it more attractive.

Curly pilus:

• The lock curls itself around in a cylindrical shape. Try not to make this shape completely straight, otherwise the lock will terminate up looking like a leap!

• Then I simplify, get-go drawing a ribbon. See how it becomes thinner as it approaches the tip. The third pace is to detail the external and internal sides (A).

• I added some texture, following the management of the curves. I besides put in some irregularities around the edges to match the surface (B).

We can utilize this method to create more interesting and complex silhouettes:

I followed all these criteria to castor up my character and and then I added the necessary amount of detail while keeping information technology simple.

iii. Adding values:

I am going to use the value calibration to ascertain details and give a 3D effect to the shapes.

The below paradigm is a hairstyle consisting of irregular layers and overlapping locks. If nosotros only had the silhouette, we wouldn't notice all these details, thus I need to contrast the different sections in order to highlight these shapes.

This is the step-by-footstep process which will assistance us understand better:
• I define the edges (one). In step two, the mid-tones tin can be seen in the corner; the strokes follow a unmarried direction to maintain the harmony of the shape, and the illuminated areas are left bare.
• In step 3, we employ darker shades to darken and deepen some areas, for example, on the overlapping layers as indicated by the arrows. I continue this way until the drawing is finished.

It is not a problem if we are merely guided by our intuition when drawing shadows and lights. "Lighting" is an extensive and super interesting topic, and I am agape that what I explain here is not plenty to comprehend it! I'd recommend researching and practicing equally much as possible.

Hair types and textures:

Textures make unique sensations and enrich our illustrations. It may be overwhelming to think most hair textures, but instead of working exclusively with lines, we must not pass up other tools that can make tasks easier besides as creating incredible effects, both in digital and traditional art spaces. It is always practiced to experiment to develop methods that highlight the qualities of our style!

I don't have a unique answer to which tool to utilise in each example, but hither is a clue: imagine the feeling of each type of hair!

Short, virtually shaved hair feels like a carpet —I've e'er thought so! And when I draw information technology, I similar to requite it a prickly, pointy, rough appearance.

For wavy hair, I think about the sea waves, curves finding one another. There is life, free energy, and motion.

On the other hand, straight hair has serene, calm, simple and peradventure elegant lines.

Explosive —simply not likewise much, curly hair is voluminous, difficult to control and, many times, difficult to comb! Fluffy, soft, playful and gorgeous, those are some adjectives we can think most. Textures save time and add complexity to the shapes.

Conclusion:

These are all general approaches that utilise can use to make pilus look like hair. If you lot desire to go further, break the rules! There is zilch wrong in, for instance, ignoring gravity, or exaggerating the book of hairstyles, or creating hair made of burn! There are and so many possibilities we can play with to create new things. I hope this article has been helpful for you. If you wish to see some of my works, please have a look at my social networks and my portfolio:

https://www.instagram.com/eri_duh/
https://twitter.com/eri_duh
https://www.artstation.com/eridey

Cheers very much for reading!

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Source: https://www.clipstudio.net/how-to-draw/archives/159719

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