Part 2: How To Paint Realistic Anime Hair

Hey everyone, it's a spec again and today I'll be showing you how to paint realistic, anime hair. Last time I showed you how to do the skin, and that was part one and the point of this sort of series is that I'm trying to show you how to implement the realism with the anime aesthetic so with the anime, signifiers or characteristics. So we're not really changing the anime proportions, we're not changing what the Lions are telling us. We are just bringing in some realistic elements. So what I'm going to do today is I'm going to color the hair and show you the step by step, just like I did with the skin on how to make the hair look realistic and match the realism of the face that we have now. So basically, the gist of it is going to keep the hair outline. So we're not going to bring in like extra little pieces of hair that look like the actual hair in real life. We'Re not trying to create that texture. We'Re trying to stay within the outlines. Already drawn by wow wow era, so we're going to keep the hair outline the same, we're going to work with it. We don't want to remove from the anime feeling at all. We want we're just bringing in realistic elements and realistic characteristics of hair, so we're combining the two and creating like a hybrid of realism and anime, and the only way really to recreate a hybrid is to remove the lines but keep what the lines were telling us To do so, the lines are borders and the lines are telling us that you know within this within this line, and this line is piece of hair, so we're not going to break what those lines are telling us. We are going to remove the lines and replace them with form because lines are just signifiers they're, not the real thing, as I explained in the video before which I recommend you watch, so we're going to keep the lines we're just bringing in the form so that We can work with some core shadows, we can respond to the light source the same and we can really have fun with it and not lose. What what the anime feeling is, and as one of the comments said, anime is so kawaii and I agree anime is - is like it really has a big fan base for that factor. It'S that it brings in a new kind of humanoid and it's always fun to play around with. But for me I like to challenge myself and realism is always a great thing to bring in. So it's always fun to just try to merge both worlds. Realism and anime, I think that's the best way to enjoy the both. So first of all, so these lines have already been changed, so the lines are not black. I always recommend, if you're, going to change the lines and get rid of them and paint over them. Please get rid of the black and replace it with a brown or something close to the skin tone. So I'm going to try to decide what kind of hair I want to give her. I kind of feel like orange hair. I don't know who this character is. I kind of want to give her pink hair brown, hair blue hair. I'M not sure blue hair would match with her eyes a lot better, but pink is really cute, so I think I'm going to go fake. So, let's find where this file is okay, so the lines are here and what I'm going to do is I'm just going to make a new layer on top of the skintone and first let me and I'm going to get the basic brush. The really you know hard brush, which is this one. It'S just one of the basic brushes on Photoshop. It does have pen pressure and transfer on it, which always great so don't forget to use those, but I'm just going to work with it that way. So let me see what's happening here. Does this have grays in it? No, so I can just select, inverse, select, inverse and then paint on the layer above and that way I'm not painting on the face. I don't have to worry about cleaning up my lines too much all right. So let's choose some hair colors um. Let me get out of that. First, so hair colors um don't match with certain skin tones. So you have to make sure that you are thinking about the skin tones already there. You don't want to bring in like this really acidic, pink and expect it to work. It might work in cell shading in Sochi, a ting pretty much anything matches, but still even in pixel art. Even that minimalist way of painting you still have to match. Colors. You can't just choose any random color and expect it to work. It'S not going to work like that, and I've made a lot of videos and a lot of the critique hours. I talked about why you have to think about the values and how you have to match the values as well as the hue, as well as the saturation before you bring in any colors on top of any or colors you have already. You have to make sure they match in those fields. Why? Because the reason why we're seeing any of this stuff right now, the reason why we see a girl in a room? This item is because of a light source that light source controls. How much of each color we see that light source is the ruling governing power? So if that light source is the unifying force, it means that all of the colors are receiving the same amount of light. Some are getting a little bit more, depending on closeness to the light source, but, generally speaking, the light source that you're in governs the kind of tone you you're you're, having all the colors and the greyscale tone. So you have to bring in colors that match and tone, because what you're telling the audience and you're telling our eyes is that the light source is the same and that's important. And if you're, you know having trouble accepting that the light source has to be the same, you have to start thinking about taking lessons in light sources, and I have those videos as well. It'S always good to have one primary light source, a couple of secondary light sources or a tertiary light source, but it's always good to have your primary light source control, your colors, your value, the tone of the light source has to be brought in. So if there's yellows in the skin there's going to be yellows in the hair because of the light source is yellow, so all that stuff have already talked about and I'm just brushing through it quickly before I start this video. I hope it's going to be shorter than the one before, because I know some of you think it's a bit long. I know that I wouldn't, if I were, to paint it without having explained having haven't having explained anything, it would have been a lot faster, but the fact that I had to explain what I was doing was slowing down the process. So I feel like that's better for you guys as well. You get more exposure for the process. I mean it's, not a time-lapse video entirely. So that way you can, you know, really get the best of the video and the best of the lesson. That'S what I try to do in my channel. I try to bring in some some some extra something extra try alright. So what I'm going to do is I'm going to choose some skin tones first, so I'm going to drop tool to skin tones, I'm going to find the highlighter tone it's right here, almost unknown, so nomadland is right there, it's a bit under that's good. Also before I started this, I up the contrast from where it was before. So if you compare where I am right now to the video at the end of the video from before it's a bit darker, I just upped the contrast at the use of the contrast tool. It just was a quick fix for me. I wanted to sort of have that know what happened have that anime sort of extra saturation that we see sometimes all right. So my the dark tone here should be just about where my dark tone is for the hair. That'S the rule of thumb. The darkest you go for the skin is basically how dark you should go for the hair, so I want like a pink like something of an acidic pink, really really cute pink and I'm going to make my dark tone first. So you see it's really nicely matched with what we have here, it's a bit saturated, but that's what the anime thing is all about. So let me move it back up to the pink up here. This pink this red up here has Purple's in it. Of course it's closer to blue and this is warmer, so if you ever have to cool down a red and it's purple tones. So if you don't know how to cool down an orange, you take it to red because red is closer to purple. So you have to go through each door, just a little reminder on how to sort of work with colors and cool them down. So what I'm going to do is I'm going to try to they? Don'T like this tone, I'm going to push it up into the saturation and I'm in no-man's land right now, but this tone, I'm not going to use it everywhere and some of the stuff that I'm going to be doing is going to be done by Dodge tool. Dodge tool is great tool. If you use it, well, don't overuse it and there is no lack of honor and using Photoshop tools. We are in the digital age, so you're not using the best or not taking advantage of what's available to you, then you're going to miss out on Dodge tool, awesomeness, but but yeah I just selected inverse so that I don't draw over the hair and you can See these colors match and I never had to match them to the skin. I never had to bring them in and they're already matched so well, and that's because this pink is really working because don't worry about being messy. This pink is working because I used the skin tone, the darker of the skin tone to determine where it's sat on the color wheel, okay, dokie! So look at this these lines. What are they telling us? These lines are telling me that they listen I've already drawn where the hair is for you, don't, oh, don't do more than what's already there. All you have to do is accessorize the hair mmm. That way, you can really just think this is good. This is going to work. Let'S see, all you've got to do is just bring in those realistic elements like I said oops, so I'm just erasing away. I use the the lasso tool a lot to help me find edges a little bit better. So thank you again. While we're o for letting me use your image, it's a beautiful piece, that's really nice and then not to detail just the right amount and I'm just cleaning up these edges, because I don't want I'm going to eventually lasso around these edges because I don't want to Lose this this form right here what we have here, we will be replacing some of these lines as well all right liked to select just clean this up. So that's step, one lay down your base and work within your lines, color in the lines. This is all that stuff you learnt in grade. One in kindergarten is coming back color within the lines for now. Okay, so hopefully this doesn't take too long. So I have the public session in two hours. I'M sure it won't take two hours, but if it does, I can pause it and get back to it. Sorry, if you hear that humming sound, that's the laundry okay, so this this video was um from suggested by one of the comments in the previous video. So if you guys do want me to do anything, please do suggest and comment, and I will hear you after all, this channel is for your education. So you know that's the whole point of it. You can help me out. I can't always know what you guys need what you guys want to do and I'm I have fun with whatever questions you guys ask. I mean sometimes I get bored of my own process and I want you guys to ask me questions, because that way it gives me ideas for what to do if it's, not if it weren't, for you guys giving me ideas and be just you know, the same Old me thing and I can be boring. Even I get bored of myself, so yeah ask away. Ye shall be answer what okay, so I'm just cleaning this bit up. So what steps the step? That'S next is finding the light source. It'S the same light source. We used for the face, and some of you think that the shadows for the face are different and they're, going to look different and act different from the shadows on the hair and the shadows on the hair, look and act different from the shadows on the skin. I mean on the body: that's not true. If we've got a core shadow running over the face, that core shadow is going to be shared, shadows are shared on a solid object, no matter how many accessories has got on it. They'Re going to be shared with the with the skin, I mean with with everything with the hair okay, so I'm still cleaning up a little. Some of the skin needs to be deleted because it's in the way, some of the other videos that are coming up, video about how to draw chests realistically for females. So the neck collarbone and cleavage combo that whole area can be really difficult for portrait artists. And it's a really big thing for portrait artists to not just always be able to draw just a face, but to bring in other elements as well and accessorize them. And then soon after that, I'll probably do a fabric or drapery study and I'll do it lean on the while recording the screen for you guys so that you can see sort of how I go about it I'll try to do it like real time without time Lapse, we'll probably do it with time lapse. I'M not really sure that one, that's just too ahead in the future, I'm not sure if I'll even do it, but again, if you guys have anything for me, just do ask so this cleaning job will really go a long way. If you do a nice clean crisp outline like filling in your lines and cleaning up the edges, well, it'll really help you later so always try to clean up as much as possible. Making sure the edge of the face is still soft. I don't want to damage anything. I'Ve already done, so I just get the blur tool and run it over the edge near the face of the hair all right. So let me get this pallet out of the way I usually shrink it. Let'S just work with this one, so this up to the light source is coming in from this way and just like before I'm going to lay down some cell shading, some really really basic shades. But I already laid down the the base tone, which is the darker version. It'S going to work with the dark tone of the face, and I can only go lighter from here. If I want to go darker, I have to make sure that the dark tone isn't just this color. This cannot be the dark tone, because this is a new color coming from a new point in the palette which is like in purple a darker purple. So what I want to do is choose a dark tone that moves along the saturation line. So this is the saturation curve when you want to darken a color. You don't just go down to black you curve with the color, so you will go, but you are going down but you're going down on a curve which means you're, preserving saturation. Be careful if you do go down too much, you will change the color, so this has become a red. It is no longer a pink so as we go down we're going down on a curve and we're moving closer towards the purple for so slowly and that way we get the perfect shadow color. So that's a big difference between this and this just like so that's shadow color right here will work very, very well same thing with the highlighter. If you do want to highlight you just go on a curve and get that highlighter tone as well. It'S really close to the one we chose before, so it's not that much of a difference. We clean this up and get started. So I'm thinking about, where is the light source and her head is a dome. So how would I shade a dome in that kind of situation? So at this point I'm actually just going to bring in my brush and I've done a lot of hair tutorials and the main focus of those hair. Tutorials is one really big rule you go to larger to smaller on the brush, so that's how it has to work so right now the brush is really large and I'm trying to capture some core shadows so where the shadows really happened on this hair. So, where are the highlights? There are the dark spots which areas are reached by the sunlight or the light source or whatever it is and which areas aren't so I'm shading around the bulges of the hair. Just like that nothing fancy. The remember hair also casts shadows. So if I have cache shadows on the face, I'm going to have cashout as everywhere else, so this piece of hair is casting a shadow on this piece of hair. So your lines are pretty much telling you what to do right now. So you see that that's nice, when you have cast shadows, it's really nice. It really just takes the form somewhere new takes it on a magic carpet, ride, okay, same thing over here casting some pretty shadows, and over here I'm not going to blend it. I'M going to have to cut it off, I'm going to have to make it sort of a gradual, a gradual change, but it looks also very very sudden as well, because this area here is a core shadow, so it bends away. But I have to make sure it's like the perfect spot. It'S not going to be a flat. It'S not a flat piece of paper, remember, hair, even if you're drawing in an anime style, it's not a flat piece of paper. It does have a high point. The Bulge the highest point on it, so you have to work around that point, so I'm adding shadows on either side so that I show that it's like a 3d object. The cylinder and then there's this piece here casting a shadow on this piece. So I'm going to carry all of these highlights up and then cast a really really sharp nice shadow whoopsie see that lasso is really amazing, not sure. That'S how we want to cast the shadow actually um I'll decide later. So I'm just going to get a highlight on this. This definitely has a cast shadow and this headpiece. This piece here has definite shadows on it. So I'm just going to cast a shadow on that. I have to make sure the shadow sort of match. So let me do that again when I want to cast the shadow I'm going to enlarge sort of my brush and cast it like that, one big line, so they match each other. So that's really nice kind of matches with the cast shadow of the neck as well. That'S one consistent cast shadow. You want it! You want to sort of get your cast shadows as parallel as possible. All the time same thing over here, so I have my core shot. I'M not going to interrupt it! These core shadows are still intact. I just need to finish this part. Sorry, these shadows are still intact, they're, just not going to be flat. So I'm going to be actual cel-shading. Let'S uh move around the cylinder of the object. Yeah just try to eyeball it and see my eyes are always on the Navigator. They never leave the navigator. The Navigator has a nice overview, which is really really helpful in determining whether or not these these shadows are working with the composition. So being the illustrator. You have control over how the shadows are changing the organization of the golden ratio and how that you know the general organization of the whole image, so you have to make sure you're always looking over here and not deviating too far. All this is really basic cell shading working around what the lines are telling us form wise, so lines or pointers. They are not the thing itself. So that means that I have to bring in the thing itself, which is the form I have to start treating it like it's an actual cube by the way. Welcome I mean thank you for welcome. Thank you for everyone who gave me birthday wishes. You guys are very sweet on the Google hangout and on deviantART. Thank you. Everyone you're too kind. Sorry very nice of you guys, okay, all right! So I'm bringing it a little bit here. So this shirt. If it was red, if it was yellow, they would be reflecting each other, so we'd get some purple on this yellow or some pink on this yellow and some yellow on this on this pink from this shirt, so colors reflect each other because their light is constantly Reflecting so light will inherit the color that it's reflecting as well, it doesn't just reflect white all the time it reflects the color, I'm placing in some highlights, and I will influence later if I do clothes all right so now over here. This piece is illuminated: it will cast a shadow, so that's important and I'm just casting its shadow, just like that nice and crisp, and it will probably go over the line soon and make them into the shadow color that I'm using right now this this color. This is all just basically form studies, that's what it is right now, if you've ever seen me do form studies. I just draw a bunch of cubes and it's like different shadow scenarios and that's what form studies offer you they test your mind and always keep you on your feet. So if you don't know how to shade, it's like shading is an elusive thing that you can't really get your hands on or get your head around through some form studies that will really help you. It'S the same thing over here, treating it like a like a pyramid. Sort of the hair is like a large chunk, not interrupting the main core shadows, trying to keep that line there, but also bringing in some variation. Of course, that line is just really boring. So I'm not breaking the outline of the hair. My brush is still large and soon you're going to start seeing it really read very, very well so the way I usually teach about hair. Let me quickly do this. The way I usually teach about hair is you get your dark tone and you have a large brush and you just throw in some strokes shrink your brush as you go and then just keep shrinking, get the highlighter do the same thing all over again. Working with what you've already established through the shadows, shrink your brush one more time and then bring in that shadow, color again and start casting the shadow of the hair and that's sort of how hair how I usually paint hair like realistically and then you bring in The highlighter tone, the highlighter, is always not a straight line, it's a curve and it curves with wherever the hair is curving, that's how I usually do hair and then I'll just keep rendering it figuring out which shadows I want. But in this case, what we're dealing with is we're dealing with the anime outline. So I have to create this feeling this realistic hair feeling, but on the in within the outlines of the anime lines, so we're trying to combine the fact that we need a core shadow and we have a curved highlight with the outlines already established. Oops, hopefully I'll make it to class, then a probably quick, I'm sure will take that long. Once you get your core shadows down, everything else is sort of photoshopping. This is the real rendering that's happening right now, all right. So that's casting a bit of a shadow on that that's carrying up there. I think at this point break this piece. This piece is very large, so you might want to break it, and now you see my brush is starting to shrink. That'S healthy! That'S a healthy brush shrinking! Please don't shrink your brushes too soon, if you think you're going to paint hair with one tiny brush and just do these tiny little lines until you get a hair feeling, you will just create something that is not hair. You will not create hair, it will just it just won't work. You have to work large to small, because hair has to be treated large to small in a painting. It'S just too big, it's just too big a system for you to think you can duplicate it by doing what nature does, which is bring in a bunch of tiny hairs. So it doesn't work like that. Alright! So now I'm going to go into the lines. Now, I'm going to change those haircut hair lines into into the color I'm using. So I'm going to go to color replacement tool, put it on whoopsie pencil, color replacement tool. Put it on luminosity, choose that color that dark tone color and I'm just going to brush it over. So you have to do luminosity first, meaning you have to do the value of the color you're using you have to replace the value before you replace the color color replacement tool will not work. If you only have it on color, you have to have it on luminosity, and then after that I switch to color. I don't usually use saturation or hue just color and luminosity. It doesn't matter which one you do. First, really it's replacing it. It'S placing each sort of I don't know what it is really data or whatever, and now that color is changing great great tool on Photoshop my favorite one of my favorite tools see those lines are disappearing and if I need them back, I can always darken them And I've shown you how to get rid of lines. So now we have this set up that the lines helped us create, but we're not depending on the lines anymore and that's that's. That'S important. Oops one layer I'm going to darken some of these lines again with the burn tool on mid-tones and the darker the ones here, because I still need them a little and but other than that down. They go it's okay. If the clothing has been merged as well. I don't mind, take the skin tones and carry them up so that when I, when I shade, I don't have to worry about anything leaking through. Just like this, I'm just trying to carry the colors up, probably work from the layer underneath so I accidentally did delete some of these when I selected the hair. That'S fine, because the hair covers it anyway: okay, that, okay and on this hair. Now I'm going to bring in some of those outlines on the outside and I'm just going to shade around. So we are not going to break what those lines created for us, but we do have to give them a realistic texture just a bit. So we have to create, like a feathered, feather to end to the hair, because it has to be like a nice crisp piece of hair and I'm just going to use my soft brush now this brush is pretty much served its purpose far. If you hear the beeping of the washing machine okay, so you see my my brush is small: still, that's it's shrinking gradually and that shrinking is what's going to give us that extend the texture of that hair. So you don't have to go small right away. That'S sort of like a crutch, it's kind of like a quick fix for your painting, anxiety. You feel like yeah, I'm going to really really small and super dark, because that's going to make me feel good and and feel safe. That'S not that's not going to help! You keep your brush large, so I don't want these pieces here to have no info on them and I want it to be just a solid color, but I still don't want to interrupt the core shadow, so anything in the shadows is going to have like only A couple shades lighter than the shadow. I still want to keep that core shadow and if I lose it, then large my brush brush it on again. Until I'm satisfied tight over here, see it doesn't matter which brush you have as long as the size is right. Those are not sorry we try to make it feel like the hair is clustered together or separated at times I might bring in a second shadow set. Not sure depends on how I what I might need, I'm just at this point. It'S all muscle memory, really I'm just trying to figure out where I want to go with them with all this. Some cast shadows get faded, so it doesn't have to be the exact color of the shape of the shadow. Some cache shadows are just faded off cache out over this tiny piece sticking out see. I didn't paint away this tiny piece or bring in extra tiny pieces till it made sense. Realistically, I didn't have to do that. Sam was over here. You don't have to get it completely into the shadow. I can have some light to it and that'll give it that intrigue same over here. Okay, so since we did go full black on the eyes, we do have to bring in a darker tone so again saturate and cool down, so that purple is going to be brought in. Comes the cavalry delicious dilution. Sorry, alright! So I'm going to get that color again and where is my core shadow just across here and that's why I'm going to brush it decrease your saturation. I mean your opacity and just goes dark as you need to only in the areas that need it. So don't go dark everywhere, don't just bring that color in all the places, just in the places where you feel like it needs to be a little darker. I carry this shade up here a little and then I'm going to bring in that highlighter tone. I chose and in a circle brush it around the hair. Just like this, it's okay, if you brush over what you did because we're just going to accent it even more and then this the ball, the ball of her head needs to be shaded, as if it was a ball as well. So you can't ignore that has to be shaded as if it was a sphere. So if you've ever done those sphere studies or those little ball, studies - that's where this comes in. That comes in here, so the same thing where these shades go in the cell shading. It'S just that now we're going to treat them with a little bit of respect. Now we're going to bring in those shades same thing over here, I'm going to bring in those highlighter tones over everything. Obviously bad idea: the darken, the inner areas first. So the area that is the most blanketed whole thing that got on her face. I don't like a zombie I'll erase it so the areas that are most blanketed on the face. Those are the areas that are near the face. Those are areas that are the darkest the inner hairs are the darkest there is this mess? That'S the thing with working with lines, you're going to be cleaning up the entire time, just like this oops. Actually, I need that. Okay, I'm going to continue what I was doing just bringing in that shadow color only where I need it and along a line when I want to interrupt any lines I can want to keep reinforcing the sphere of the head. These pieces here need some as well. This piece is catching a lot of light, so it needs some illumination on it, so doing still lives and studies on forms. You know that's what still life is just the form study will really help when it comes down to knowing where to shade. Unless that's, that is the question when it comes to our. Where do i shade? What do i do? Where do I put this color? That'S what that's that's the answer to that questions. Do some form studies and you'll figure it out. So I don't want her hair because I'm bringing in that realistic touch. I don't want her hair to seem like she used a lot of gel to keep it stuck together, like that, all those horrible horrible cosplay wigs - oh my god, never please, please them, or do this same thing over here, I'm just going to break it up! Break up that piece into maybe two pieces stuck together or three: sometimes they don't need to do much for it to read some cast shadows so like this, you have to make sure you're following the cast shadows. Nothing is happening to that beautiful line we made my brush is shrinking, but again it's the right amount of shrinking. It'S not excessive, just at the times where we need it. Alright, so over here, I'm going to start breaking up this piece. This piece can't just say: one solid piece has to be broken up, so I'll choose the color surrounding it and start breaking up that piece in one really good way. Sorry, but Skype. One really good way to sort of blend it together and not have to do much. Work is to get a soft brush on smudge smudge tool, and I'm going to do is just what I was doing before, just bringing in that hair texture and brushing down along that highlight I made you can see. That'S you can depend on this brush, though, because it does have a look to it. That is really detectable just got to find that sort of good spot, sorry about the truck dating neighbor with dang American truck hope. It has a following. My videos and he'll know ok, so this is just so that I can mix these two shades together. This is not a replacement for rendering this smudge tool does not render for you. You still have to go around and fix up what you made so now, I'm on the brush tool here, zoom out again darkening as I need to, and then I'm going to bring in a highlight near the edges of those dark spots that I made. So that's the secondary light source that we used on to the face. So there's that tiny clash and it's back I'm going to have to clean this little piece up. Okay, so those smudge pieces that I made were all a bit too large. So I'm going to sort of break them up into larger pieces, so that's what you're always trying to do make larger pieces or smaller pieces and distribute them evenly until you feel like the combination. Is nice till you have like a nice sort of spot? So it's really random with hair, you just got to keep stroking them. Those brush, strokes and till you find that nice, some sort of balance to be large piece and small piece. So that's pretty much what I'm doing right now, I'm just eyeballing it to preserve the small strokes that I made, but also bring in some new ones. They'Re a little bit larger break the whole head piece. Apart a little bit, you can see the way that it falls on the face is a little bit unnatural now, so we're going to have to break that up as well and bring in that highlight highlight again is on a curve, and it follows the same curve. All around the hair just fixing this spot here to preserve that that shadow I made earlier and bring in that, highlight and then I'll clean it up again, usually for hair. If I'm doing it realistically I'll choose something like this brush. That also really helps to give me those solid pieces just like that, really really nice brush and again these brushes are available everywhere. I don't even know where I got this one from it's: just a random download, it's just a cubic Q B type brush, I'm like in that and after in a minute I'm going to be sharpening these textures till I find that combo. So I do use the to sharpen tool, not the de sharp how you use the sharpen tool a lot because then a lot of my brush strokes are gone and the transfer, but I need transfer on so that's sort of like a thing you have to deal With with Photoshop kind of lose a lot when you have transfer on transfer your super necessary, sometimes again just finding that good balance and I shrink my brush one more time - that's smell enough! It'S too bright! If you ever get lost like right now, I feel a tiny bit of bit lost, but as soon as I remember the light source I sort of like okay, so I want them there and then I don't feel so lost anymore. Just like that yeah. This piece is bothering me, I'm going to have to fix that there's going to get so much tool, um and pull it down and it'll it'll work. I don'ti selected, I totally selected what the f come on man. Oh my bad with using, I was using burn tool. Okay, so there's that there's that and I'm just using the smudge tool to give it that feather it erase some of this mess. I have here just continuing close that piece off. So it's a lot less difficult in the face of absolutely and you can definitely get a hold over hair a lot quicker than the face as long as you follow those those key elements, just keeping your brush large thinking about the distribution of larger and smaller pieces. Consistent texture and good use of your brush, so good brush economy and you'll you'll surely find that that spot. It is a gamble with hair, so you're going to have to just sit there and test a couple of strokes together before you get that combo. That works with you, so there is no one way: one pattern of large and small strokes for large and small pieces. There is no such thing as one specific pattern. It'S going to be rough right now, so you're going to have to test them out. Take your time and it'll fall into place. I might actually break this piece into two just a little bit. I don't want to break the largest larger feeling of a few of the that piece of hair, and so we have to make sure the pieces of hair on this side. Ours are as detailed as the hair as the face because they're right on top of the face, so that's going to be tricky, trying to make sure that they match. So I'm sharpening right now the areas that have highlights on them, because areas that have light on them have higher contrast and sharpen tool brings in some contrast. So sharpen tool is good like that, but use it well, don't don't overuse it, don't overuse anything if you find yourself on one tool for like five minutes at that point: you're really overusing it. It should be a quick thing, quick little shortcut that you use to get around a Photoshop difficulty or the fact that there's a lot of space between you and your on your canvas, so don't forget that it's all about your brush, your brush, should be able to Do more for you, because that's how you're applying the color that creates the form so further out. We can't draw tiny hairs because that will be too realistic again, which is a combination of hybrid, but you do want to create a nice soft edge so over here. The edge is softening because I'm using the brush on it, it's like a combination of the eraser and the brush and for these little gathered up pieces in the back, I'm just going to place some quick strokes for them. Nothing extensive just something that responds to a light source and then I'm going to erase the way. Sometimes it's better to have the same eraser as you do the brush, because you'll keep that texture. Sometimes, though, the solid brush the hard brush will always erase away any texture that you have on the edge and some brush is a really nice edge texture. So you might want to just make the same brush on your on your eraser as you will, as you do on your paintbrush, so nice tip I got for use, so try to figure out the layering of the hair. So this piece is probably in front of these, so I'm just going to place a stroke here to represent that and then a cast shadow over these gathered up pieces that I did and then carry that down into the rest of the hair. And then these pieces were behind the same thing: okay, so over here I lost a bit of information. That'S fine! I'M just going to get my brush again. I think it was this one yeah and I'm carry on with that bang. Actually, because it's like this, we have one long piece victory, look at the lines again. This place is falling straight down. Just like that, I use the shift tool. It'S okay. If we lost our core shadow, we will get it back select and I'm going to just brush some more of that hair. That falls straight down because it's gravity's pulling on this piece of hair. So it's going to have a straight movement down, and so under all of these shadows under all of this hair is a cast shadow on the face yeah. So that means that we have to get the color of the hair and put it in the shadow as well like when you have a balloon against a wall. You'Re going to see some of the color of the balloon in the shadow of the balloon, because the hair has to, though the light has to travel through the balloon onto the wall and get its color with it. So that means that we have to do that as well. What does happening so this piece here bring in some info nice eye info. I just mean, like you, know, detail we got ta wrap this up, quick for the class starts. I have an hour get my soft brush. Actually, sometimes a brush just will get in your way. It'Ll. Just wonder the job for smaller pieces it'll do a really good job for larger strokes, but sometimes it just won't. I'M gon na do much for you. Simple basic soft brush will go a long way as well. Just like that. My brush shrinking bringing in some detail, especially over here, be careful. Where you place these small tiny, tiny strokes, they will. They can ruin everything. They demand. A lot of attention, because they're very, very small, so you have to place them on strategically near the eyes and their areas of sorry. That'S laundry um their areas of detail that are already there. So we've got details here there, this eye and details near this piece. As well so that's working nicely, I'm going to bring in some detail just along this, but please don't interrupt your core shadow. Do want to finish this with you guys, so I'm going to just get my look at this one same same kind of brush, but it's a little softer, I'm going to start interrupting some of these, because this is too solid compared to that, doesn't feel real right. So we're going to have to bring in some real real characteristics. Sometimes why sentence fades into my thoughts, my condition it's going to be tricky. It'S already so divided like that works, so yeah, it's a gamble, just keep at it. Just treating it like. I treat those tiny little hair vendors that I do I'm going to throw a core shadow over it soon, just like this, and actually I'll just use my smudge tool that will help extend, extend that's okay if it's messy, it's okay, whoops! That was wrong. Um. Thank myself brush and get those core shadows back, just like that. We'Re here as well, might have to lasso out this this hair piece, because it's getting neglected girl needs to feel a sit-up, and on this part, I'm just going to stroke in the highlight the highlight is going to be on a curve, and the bad thing is That this highlight is going to be interrupting the shadows, so I can replace it with a dodge tool to see the Dodge tool. Saturates as it highlights, so you might want to put it on mid-tones and on protect tones so that you don't get that. So it's almost the same exact pink that we got for the highlight, which is pretty much. What Dodge tool does just it just curves like that, like I do on the color wheel or the color picker, sorry, I'm just trying to get a nice even curve. That'S symmetrical just like that, and then now we have the right tone and the dark spots, and then we can start detailing along them. So we can bring in detail if you do escape from the core shadow again just bring in the soft brush and reestablish that this hairpiece here doesn't really have a natural curve near the edge. So I'm just going to give it a more slender curve. It'S kind of drawn in too bulky just like that of a nice little tapered finish, and this piece here this whole hair section is a bit too bulky, considering the fact that it's the hair near the base. So here I mean hair near the bottom of the of the side of the of the hair. So that's the hair, that's on the bottom, so it's a bit bulky for it. Hair tends to sort of thin out. So I'm just using my lasso tool to clean that up. Oops still too bulky might just leave it alone and soften the edges. At least okay and this little piece will have some highlight: here's the smudge tool again clean that up and then again bring in the core shadow and then finally, you can bring in the highlight again. The highlight cannot be that that light has to be a little bit more friendly. This whole section is kind of just taking me off. I want like a nice smooth piece, so I might just get my basic brush the hard round and just use its curved sort of that off. No, it's not! I can't larger give me a minute I'll figure this out. Well, the hair is falling this way. I know what to do stand that pace, make it nice and symmetrical it's okay. If the clothing got room removed, I can always bring it back clean that space up so right now, I'm cleaning pretty much. Everything is almost done. So, as you see, the hair is got a very specific process, but after you get that down, you can pretty much do it. You know anytime, you want. Does that even mean this right? You pretty much like you know, use it forever. It'Ll it'll really help you screw that up it's too bright. Now this piece isn't smooth enough. I have to sort of make it smoother. Smudge tool need your help and then this piece I've got to lasso out because it's shared the same layer. I'Ve got to sort of separate it oops. I'M the pack say that differently. Just like that, it's okay! It'S got that seam around it from the lasso tool. I can just fix it up later. It'S also like control. As you can see, I use control-c a lot because I have to get that perfect curve that matches the curve properly. So it's a matter of aim as well lots and lots of stuff. You have to know how to do when you want to draw and that's what makes it kind of hard. But after you get that um you're good okay, so one last thing I'm going to show you guys, I think I'm just going to have to call it a day with this piece right here. It'S kind of giving me some trouble, I'm not even sure why. So one last thing is that between saturation lines, so I'm going to throw that little dark slide up here as well, because that happens between highlights then there's another little highlight up there between saturation lines. Moving between highlight and shadow there's a saturation line that saturation line is very, very specific. You have to make sure you have it. So what you want to do is you want to go on a color layer, go to your pink, get the most saturated pink. You can find use soft brush, unlike 50 % opacity, I'm using 38 in between the shadows and the highlights you placed in that saturation line. Look at that baby. I actually want to go a little bit cooler, that's a bit too warm for me all right. So I'm going to place that in between all of the shadows, not everywhere, just in between that line, let's see that that's delicious same thing over here and that happens in hair. If you look at hair um, you do some hair studies that happens in real life. I have to make sure you have that we don't want to trail the eyes away from the weight from the eyes of the image. We want to make sure that we are working with a focal point in mind, so I'm going to go to burn tool on shadows, bold path, see a little exposure, I'm going to try to frame the face; no mid-tones, not shadows tech tones on shadows, baby, no Unread tones and I'm going to try to frame the face a little bit so that we keep going back to that. The dark and the pieces that are around the eyes. So one last dark and with the burn tool and see those nice saturation lines are really really effective. Sorry, just testing something up: darkening there and now I'm going to last so out. So I'm going to lasso and then select inverse and overtop these shadows on the face. I'M going to get the color color layer again, get that base tone, pink, low opacity and then brush some of that pink over the shadows and very very gently just bring in that color, because that pink is reflecting on the face. So we want to show that we number one understand that and that we are merging these cut. So this is too much I'll, be erasing away what I don't need, so we are reflecting the color that is on the shadow. So now I'm going to erase the way what I don't want until I find a good spot going to desaturate some of the areas on the fit on the hair, so the shadows do tend to be a bit d, saturated so areas near the core shadow shouldn't. Have that much saturation, that's too much just like that, and what don't want the eyes to trail away. I would have drawn this piece differently. I'M not really the one who drew this. I would have drawn it a little bit differently. You know this piece here. That'S hanging off. It seems a bit bulky for me bringing in that detail these hair pieces. You see, bringing in that shadow on to the face the pink shadow really made the face blend in so no longer looks like it doesn't belong. It really feels like it belongs on the face, like the hair belongs to the face, so just like I did with these little piece whoopsie, just like I did with this on a piece I'm going to try to taper off this thing into it into a nice. Little curve, just like that same with this piece as well, so they have a nice curve to them. Just softening up and cleaning almost finished now, we'll use the unsharp mask on it, the filter. It also helps bring out some of the detail lost code of transfer. Whenever I have transfer off, I don't ever use have to use sharpen tool or around sharp mask, because the sharp and the sharpness of the tool is preserved. But when I do keep that transfer on which I do have to all the time. Because it's a really good brush setting, I have to sharpen it so I'm going to get the sponge tool on saturate that also saturates, I'm just going to saturate those lines again. Just like that, not too bright, don't want to take attention away from the face and there were some pieces behind the head of hair just like that and those deke don't need to be detailed. They just need to be blurred a little bit because we're pretty much done with the detail go over here and clean this up. So again, sorry, if this video turned out to be long Authority an hour and 15 minutes, but I feel like it, it does help when I'm there sort of talking about every choice I make cuz. I remember back when I was learning and I'm still learning, but back when I was just still about learning the basics I would just. I wouldn't be able for the life of me to decipher what was happening in the time lapse, and I wish I would wish that there was some sort of list or some sort of explanation happening of what was you know what the artist was doing. So since I was there at that one one point: I don't want to do that to anyone, so I'm just going to explain what I do until further notice. I'M just cleaning up here doesn't have to be to clean with the hair edge. So remember: just get your core shadows down, treat the hair as a 3d object, bring in something some some shadows that respond to a highlight some cache shadows. All of that that respond to a highlight and then cast some shadow is really important to cast shadows and then, after that start bringing in the smaller brush start detailing, then it's just all a matter of balancing making sure you're, not painting away your core shadow. Keep yourself in check: that's it eventually, you'll just get that pattern that you like that nice combo between large and small, and it will work for you, so I'm going to clean up the hair one last time, balancing out the basics put it on multiply. Actually, I do not like this piece of hair here I just snow working for me, yeah all right, so I'm going to do some stuff, I'm going to add another piece over here and I'm going to the smudge tool on that hard brush and just smudge up Smudge, that away and just soften that I guess for now this piece I will shade - does that that little bit needed a little bit more info to sort of work for me turn out the playoff kinda wasn't reading enough doesn't have to be shaded excessively. That'S just a small addition: some more and less cleanup almost finished promise okay kind of changed it from where it was originally a little bit, but I still think it feels right. I don't want a detail areas that might attract attention away from from the eyes. So I'm going to place in some really delicate detail over here thing to invasive stop working. Sorry, I'm a bit of a perfectionist, as I always say just has to read. Well, for me, it doesn't read well for me, it won't read well for my audience, though, and then my worst Crick make sure it's perfect more perfect in my eyes anyway, let's bet over here could use some attention again. Just minor details will go a long way. Nothing too extreme whoa, okay, just select and some more cleaning. Sorry, if I alarmed you just a little bit more over here, toughen this up, I'm going to bring in that secondary light source with a final touch, bring it in a new layer and then you race away. What I don't need just like that and then I'll bring in my own shop mask so just like that we have a nice little touch of another light source on those soft brush. Instead, okay, and can I get rid of this Rudge that down one last thing that you could do to unify the pallet a little bit go on a colormode layer, get the pink of the hair and place it over the lips, that'll that'll sort of unify the Pinks available to us so that pink on the face, that's a bit much because I'm going to bring in some blush anyway. So so yeah get some of that pink in the hair and place it over the face a little and then some pink over the eyes and then finally - or I forget a little bit of that pink over the eyes, the same kind of pink in the face