How To Draw A Head Looking Over A Shoulder

Hair is very of import for our characters, lending a personality of its own, so cartoon hair exactly every bit we imagine it tin can be a real challenge.

Merely there are many dissimilar approaches nosotros tin take! For me, the most important rule is to understand what I am drawing, so that I don't get lost halfway through.

1. Construction and book

Offset, we must define the areas of our character's hair. Mark a reference betoken or a route which divides the hair can assist us. For instance, at the hair parting (1). From there, it becomes easier to encounter the direction that each section will accept (2).

Equally my drawing advances, I ponder some possibilities. This character will have straight pilus, cut merely over the shoulders. I think no bangs would be better, but I want some hair to comprehend one heart, and the tips of the hair to scroll inward.

I start to depict these lines. I might change my heed after, but this stage allows me to see more clearly.

The caput is a sphere. If we don't take that into account, the drawing could get-go to flatten. This is a fairly common error. Let's have a look using a mesh to demonstrate:

Each hair comes from a specific betoken and grows in a different direction. Even when the hair is very long, the gravitational strength eventually brings information technology downward.

Hair locks must somehow wrap the head post-obit the curves of its surface. Cheque the difference betwixt these ii images. Both circles have a layer around them, but A looks more like a apartment shape, whereas B looks to be more spherical.

Hair does not gum itself to the head. Let's proceed in listen that there is always space between strands and over layers of hair, which builds upwards to create book.

• The green area (1) indicates the gap betwixt the head and the edge of the pilus.

• On the back of the caput (2) there are several layers of hair, but since it's direct hair, the edges are almost unaffected, which allows a very subtle falling around the neck.

• The volume varies depending on the corporeality 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 volume, the angles, and to easily approach values. Then they add details to the surface.

Task: I ever recommend learning using existent-world references. Take some photos of hair styles and identify where the locks are coming from and where they are going. You lot can also draw their edges.

▲Blithe GIF

two. Shape:

Some drawing styles demand more than endeavor in the detailing phase than others, simply information technology is always necessary to take into account the standard characteristics of hair. Let's look at it this way:

The overall hair is a prepare of many locks > locks are a ready of strands

• Hair does not grade a compacted shape, nor a consistent one. It is very light, so when the character moves, the wind, the humidity, or anything that surrounds information technology tin can affect its silhouette.

Let'southward see some examples, footstep by step:

Directly pilus:

• My first step was to draw the edges of the master lock (the one which will exist the base of operations of our drawing), post-obit the direction in a S shape. And then I filled it in to create its silhouette.

• The little strands on Step iii follow a very like direction, but slightly more pronounced, enough to add dynamism to the shape.

Finally, I added some strands which move in completely different directions than the original one, to residue the composition and make it more attractive.

Curly hair:

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

• So I simplify, first drawing a ribbon. See how it becomes thinner as it approaches the tip. The tertiary step is to detail the external and internal sides (A).

• I added some texture, following the direction of the curves. I also put in some irregularities around the edges to lucifer the surface (B).

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

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

iii. Adding values:

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

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

This is the step-by-step procedure which will aid usa sympathize better:
• I define the edges (1). In step 2, the mid-tones can exist seen in the corner; the strokes follow a single direction to maintain the harmony of the shape, and the illuminated areas are left blank.
• In step three, we use darker shades to darken and deepen some areas, for case, on the overlapping layers equally indicated by the arrows. I proceed this way until the drawing is finished.

Information technology is not a problem if we are merely guided past our intuition when drawing shadows and lights. "Lighting" is an extensive and super interesting topic, and I am afraid that what I explicate here is not plenty to encompass it! I'd recommend researching and practicing as much every bit possible.

Hair types and textures:

Textures make unique sensations and enrich our illustrations. Information technology may exist overwhelming to think near hair textures, but instead of working exclusively with lines, nosotros must non reject other tools that can make tasks easier as well equally creating incredible effects, both in digital and traditional art spaces. It is always good to experiment to develop methods that highlight the qualities of our style!

I don't have a unique reply to which tool to use in each case, simply here is a clue: imagine the feeling of each type of hair!

Short, most shaved hair feels similar a carpet —I've always thought so! And when I draw it, I like to give it a prickly, pointy, rough appearance.

For wavy hair, I think most the sea waves, curves finding one another. At that place is life, free energy, and movement.

On the other mitt, direct pilus has serene, at-home, simple and maybe elegant lines.

Explosive —but not likewise much, curly pilus is voluminous, difficult to control and, many times, hard to comb! Fluffy, soft, playful and gorgeous, those are some adjectives we tin can think well-nigh. Textures save fourth dimension and add complexity to the shapes.

Decision:

These are all general approaches that use can use to brand hair look like hair. If you want to get farther, suspension the rules! At that place is nothing wrong in, for case, ignoring gravity, or exaggerating the volume of hairstyles, or creating hair fabricated of fire! There are so many possibilities nosotros can play with to create new things. I hope this article has been helpful for you lot. If you wish to encounter some of my works, please have a await at my social networks and my portfolio:

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

Thanks very much for reading!

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

Posted by: carmichaelnower1967.blogspot.com

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