Welcome to the hindering demos I'm going to take a look at eight different hairstyles.
The focus really on the rough and the refund stages of drawing these characters hairstyles and this
first character here will call her edgy.
She has a very simplified style a nice clear overall look.
Really trying to be loose there but using some strange straight angles in the hair to achieve that unique
overall iconography over her style.
Really just keeping the lines minimal.
Moving on to meet at the bottom left corner he's your typical scruffy head possibly a samurai type of
character very much a sun or star based style up here.
There's a lot of spikes in it.
And really growing over making sure his line of lips read in the rough.
When to figure out some inner details they just to show a little bit of extra tufts of hair.
Moving into the refined phase
keeping those overlaps clear thinking very carefully the sumps of hairstyles about are variants of big
small medium clumps of hair
and also mixing up some of those shapes.
Getting some Flik tops of shapes in there some curve against straight shapes
curves as well.
Keeping the variance in his style designs especially in these types of very spiky hair designs is quite
important.
The minute you start sort to thing when the Suppes of Hey styles it looks really really repetitive it
looks fake it looks very forced.
Of course he you want to be as natural as possible.
Moving onto a more simplified style more of a cutesy style character's son and she's got two little
pieces of hair that come down side of her face.
And she's also got a fair amount of bangs on her forehead.
Really hard working small because I like to get the overall shape down in shape read down before I move
in and do the refund stage and just get the clean lines and
keep in mind you don't have to stick exactly to the plan.
You'll see most of these you know were relative to the plan but I'm not trying to trace over the rough
when it comes to the here and really just trying to keep things loose and flow.
Just make sure that the masses read well and they make sense with those line overlaps
and see of changing the shape of quite a few times.
It's making sure I'm getting the lines that I want to get
and just rotating the canvas the same as turning the page just helps you get certain angles a lot easier
because your hand has very particular natural Laux you know hand and your own.
She does have a headband accessory
and really you can say that this character's hair is primarily C curves.
You don't see many curves if any at all.
That is also another way you can define types of hair.
Here with a lot of C curves really straight the top of hair it's not very wavy.
Whereas here with a lot of curves and it tends to be wavy
and this character called Yonne a very
shojo top of style character Young kind of cute looking and very simplified style and very very spiky
hair.
Striving for variance especially in these types of styles it's very important because you can very quickly
lose that natural look if you have too many repeating
clumps and shopfronts.
So even in the fringe the way the fringe is defined is an attempt at variance in every juncture.
So really if you're constantly thinking about the sizing specifically you'll be pretty much on the right
track to getting a natural looking hairstyle.
You can see there were some parallels there and two of those spikes.
Moving on to go to step flashing the big basic forms good front bangs.
That's one separate form and then she's got the rest of her hair the sides of the back.
And all this primarily made up of seekers with a few curves slant curves in here and they just to give
it a bit more of a wavy look.
She has a straight cut fringe.
But again even in a straight cut fringe utilizing these big small medium and the variance of the shapes
to keep things looking natural
will see emphasizing that line overlaps with the Vang's so that they're clearly Bang's they're coming
in front of the character's head and in front of the rest of the
and then using a few overlaps the top of the head some Straight's just to add some diversity to the
overlaps the
she's got very long Hey strains very long swoopy kind of hey strain's
once again keeping interior strands minimal and putting a few where you need them but it's not going
too crazy just putting thousands of lines in the hair can be very very distracting for the viewer.
And a little flick at the top of her head
more simplified style.
It's characters rocket
and I decided after the rough stage to add in additional strains coming at the front of her to give
a bit more of a definitive look.
So she has a lot of straight angles in her hair.
A lot of right angles.
Again this is very much stylisation it's an exaggeration of the bones of the here.
So to say that it's not physically possible with gel.
It's not something that you commonly see in normal here.
And very important to emphasize line overlaps in these types of his shapes for a natural look.
And to show the volumes of the hair
you can see some overlapping happening there at the back of the head as well as to show that there is
hair messes overlapping of it's
but it would be fun to give her ponytails give her a little bit more of a youthful look.
Also changed up her pupils to the stars.
She's some kind of magical girl type of character.
And here again using a lot of straight against curve get some of these really dynamic shapes going once
again overlaps absolutely critical to have this work going from thick to thin and to thick never having
too many parallel lines in the here
and just replicating that design to some extent
some flicks just kind of adds some dynamism to being ponytails
McCain will use of overlaps very restrained use of any lines
and also some more straight types of lines some 90 degree angle beings typically aren't very realistic
with really meshed style I see some overlaps
as characters nunna Korsh G 7 and was going for a burly character type of look you're just doing the
messing of the beard.
Keeping them very blocky keeping the beard clumps very blocky the mustache very blocky big over all
shapes
and I gave this character a Mohawk both really a Mohawk shaped a volume and it really isn't too much
of a strain the top of his.
It's just a big volume
but in the small overlaps there keeping that shape variants of big small medium going
just implying the smooth cut of the here and this big volume
and then once again size variance and overlaps it's definitely very very stylized for facial hair.
It's not your typical look but it still works and it has a very appealing type of look to it.
With the mustache overlaps and very very important.
And then moving on to cheap which is its character again.
Two big messes the bangs and the rest of the hair especially the front of the Hariya these two front
strains that hang down a little bit of braids in.
You can see that there's really that bought him way to his style.
He's done something that can happen with straight but heavy hair.
There's just a lot of hair clumping at the bottom
Torrini a little headband or braid braid elastic or something like that and then really defining the
details of the forms of the hair here.
Trying to be very careful with the sizing and putting in overlaps additional overlaps when necessary
looseness is absolutely critical.
I know I've said it a few times really.
It's absolutely critical.
Digital gives you the advantage of really undoing your lines but when you're working traditionally on
pencil and paper you want to make sure that your ruffs to a much higher level of quality typically then
you put a new sheet of paper on top of your ruffs using a lockbox and then you clean up your drawings
the very steady hand using multi-line pins and more inks India.
So it's a little bit of a different workflow but the theory is fundamentally the same.
If you'd like to see the full length and Dema of these particular heads being drawn that is at the end
of the module and I'll see you guys in the next lesson.