In this lesson we're going to take a look at the fundamentals of a drawing hair.
Now the good news is that drawing here is actually pretty straightforward and pretty easy.
As long as you follow a key few set of rules and we're going to take a look at these fundamentals right
now the first thing that we can look at is looseness and flour and looseness and flow Rany refers to
us being very loose with our hands when we're drawing the lines for the hair with a working ruffle refined
we wants to be loose and flowing.
And really what this means is that we get very smooth lines with no kinks or any weird wobbles on them.
And in addition we get beautiful tapers at the end of the lines which are great for implying hair strands.
So looseness and flow are quite pivotal.
When we draw lines slowly.
We tend to get two things happening.
We get a lot of strange kinks in the hair that just really ruin the effect of a smooth strands.
And in addition we also get really strange tips sometimes very flat tips that just aned and lack of
dynamism.
So we really want to avoid drawing our lines for my hair slowly.
It's really really really pivotal.
The next thing that we to take a look at is directionality and gravity
and what this refers to is the effect of how hair Spratt's from the head and then is pulled down by
gravity across the face the sides and the back of the head.
So here it kind of comes out of the roots and the top of the head kind of like a plant sprouting.
And it really has a lot of directionality to it where it's fanning out in a story like a pattern from
a central root area will from the point of origin and being pulled down by gravity across the side of
the face.
So keep in mind directionality and gravity and the hair you don't want all your hair coming from one
single location it's going to look very strange.
Right.
Make sure that the here is stemming from multiple points across the head and is moving around the skull.
The important thing to keep in mind here is that the hair is definitely built on forms in manga and
anime style drawings.
It is not purely symbolic.
It definitely is form based.
And on that note we're going to move on to the third thing which is where volumes
so as the hair sprouts from the top of the head what happens is the hair strands bold on top of one
another.
And what this means is that at the top of the skull we tend to have a degree of volume.
So we never rule the hair as if it's stuck to the scalp like glue or that it's super went super thin
and stuck to the skull.
We don't want to do that.
We want to make sure that the hair kind of floats above the skull and that there is a lot of volume
to the hair and on that note many female character designs in terms of manga style teams to have a very
rounded tops of their heads.
Now of course this of course depends on the manga it depends on the star the sub style.
But keep this in mind it's a very common attribute that girls will have very smooth round tops of their
head before the hair goes into its stylization as it comes down to the side of the face.
So do keep that in mind.
Next we're going to talk about messes and clumps
and the overall shape
when we're drawing in a manga style.
A lot of the time our particular manga and I may look around and make characters will have the similar
set of eye designs they'll have similar proportions of the face.
And we have very few elements in a sense to differentiate one character from another.
And so the hair becomes essential when we're thinking about the overall shape of the hair to allow us
to indicate that each character is different from each other character.
Of course we also have elements such as their proportions their body tops their clothing and their outfits
the colors of their hair and their eyes.
But the actual shape the overall shape of the hair in a sense the graphic shape of the hair is quite
pivotal in defining a character's look.
Now when we're bulling out here we want to make sure that instead of doing mini strain's everywhere
we're bowling a big clumps of forms.
So in this instance I'm going to bulled out a big clump of form here and another big form here and another
one here as well and I want to imagine these as 3D forms and I'm putting in these contour lines so I
can help myself understand and imagine them as three dimensional forms just big messes.
Don't worry about individual strands.
When you are just planning the overall messes and the overall shape and what you're doing it.
This is the right time to think about how does this overall shape look for this particular character.
Is it a good way to define the character that they are.
That it's a clear indication of that character.
And so we start with these messes and these clumps and we pulled an overrule shape when we're doing
the hair first before we go in to detailing the headlines.
So on that note we even don't want to overstrain
we wanted to keep our line overlaps simple and clear when we're doing the refined drawing of the hair
even in the rough stage.
And so when we're rendering this out and it's Latin this up just a little bit we can start adding more
strands as we're ruffing in the shapes a little bit better.
But we're building these overlaps and these strands on top of those forms.
And we want to make sure we're not putting too many lines in the hair if we have too many lines inside
the internal shape.
It starts becoming very unclear and unfortunately it also becomes retains a type of focal point in terms
of the character's design and we don't want that because the hair itself shouldn't be a focal point
of the character the eyes in the face should be.
So you can see here in this very simplistic rendering of the hair we don't have crazy lines coming down
the hair everywhere like this.
We teamed to want to leave a lot of empty space inside here and really be very cognisant of our line
overlaps.
So wherever we create line overlaps recreating depth we're adding depth to the image.
Keep this in mind.
It's OK to have a few strands of hair.
I'm not saying don't do it anywhere but if you begin to overstrain you lose this stylistic look and
the static of the manga stylized drawings so keep things simple and don't overstrained the here.
Right.
Let's now take a look at just the rough and the refined workflow of doing the hair.
And I have an example here of a simple rough which is a rough drawing that I'd previously done.
And we can see here the general massing a very similar hisself to what we've seen before.
We have this general mess over here.
Another mess over here or something like that and a third mess over here.
And what has happened is we've made sure that there is that space between the skull
and the top of the hairline as well so that we can give our character's hair some volume
and then when it comes time to do the clean lines you want to be very loose very flowery and we don't
have to stick exactly to the rough plan.
We want to choose a natural look with less control over a static look with more control.
What I mean to say is don't feel that you have to trace these lines exactly really slowly.
You're going to lose looseness and flow.
Rather use your underlying rough as a guideline and then feel free to be very loose and Flury in how
you render these lines so you can see here I may not follow it exactly but I get a very loose and natural
look because I'm allowing the lines to just flow and that's totally OK you want that to happen because
it gives the work a very natural and loose look to the hair.
And in this instance here I totally didn't even follow the plan but it still looks OK.
So this is how you keep a natural look in the hair.
Make sure you are very loose and very floaty
final very very important element of drawing here fundamentals is that we wanted to make sure that we
are not creating a sawtooth.
Look it's just move this image out of the way.
6.5 is no sawtooth thing.
And I'll explain what that is.
Now
so typically when someone is new to drawing and a male manga sells it's common for them to do what is
called sort to thing where they're drawing these manga style blades something like this.
And the problem here is that these trends are each almost the same.
They have a very similar repeating pattern.
We have a lot of parallels and this is very very appealing.
So don't ever so to make sure that every strand is different from the next strand.
And the key to doing this is understanding a particular area of composition in terms of shape size proportions
to one another and a good way to manage a flow is big small and medium and what that means is instead
of having a big strand and a big strand and a big strand you can have a big strand and a small strand
and a medium strand and a big Strand again maybe even bigger and then a smaller strand than medium strand
and you can see that not a single element or hair clump here is the same and you can see that taking
place in the example here where we have this very big strand and a medium size strand a smaller strand
maybe to another medium size strand into this big strand over here and we have a constantly changing
size relationship between each of these clumps.
So here we have a big strand and this one sort of medium ish.
The next one is bigger.
And so as long as the flow is constantly different big small medium small big medium small medium big
medium big or small you know something like that.
He wants to make sure that nothing is the same and that is very very important to achieving a natural
look as well.
So in ending using these six fundamentals of drawing here you'll be able to create a mess of a variety
of hairstyles and draw them in a fundamentally correct way even if you're not drawing and amain Mangga
these really all the fundamentals of drawing here in the next lesson we're going to deep dive some specifics
to the enemy in Mangga style of hair in terms of Starla easing the hair more for that particular look.
That's the end of the lesson and I'll see you in the next lesson.