Hi everyone. Chiken here.
In the last lesson, we rendered
the skin of our characters.
In this lesson, we will be moving on the hair.
I have here a few colored
linearts from lesson five, chapter two (2-5).
We'll be using them to practice our rendering
before moving on to our character illustration.
I'll provide this page as a
PSD file so you can download it and render it with me.
To start out, we're just gonna really
roughly block in the major shadows on the
top and the bottom of the hair.
Because our hair has volume and it's kind of curved,
shadows will be present on the top and the bottom.
Now let's color the lineart to
match the color of the hair.
Then I'll combine the lineart layer with
the color layer and we can start rendering.
I'll take my heart render brush
and start sculpting the shadows out.
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I like to paint them in sort of "V" shapes, following
the flow of the hair, and I'll do the same for
the top hair again, going in "V" shapes that will point down sharply.
And this will be our base shadows.
Next, we can move on to the crevice shadow.
I'll choose an even darker shadow color
and go into the little corners where
I think there will be crevice shadows.
I like to put crevice shadows where
our stray strands of hair go out
so that it really emphasizes the volume.
Then I'll use the base lighter color to sculpt the
shadows even more with the same sharp strokes, I'll extend
the light part down where I think hairs will be
sticking out like the stray strand hair.
Now that our base shadows are all in, let's
choose a secondary color for the shadow bodies.
Like we learned in the Color chapter, we can either
choose a complementary color an analogous color or blue.
There's no hard and fast rule to which color
I'll choose for hair, so let's just try all three
and see which one we like more.
I'll start out with a complementary color using
the same technique of painting it in lightly,
color picking, then painting the rest in.
Next, we can try a blue, and finally an analogous color.
After having all three, I think I like the blue most,
so I'm going to color pick that and undo everything.
Now using the new color with blue introduced, I'll go over
all the shadow bodies and add that blue tint, and we
can do the same for the crevice shadows too.
I'll take the darker blue this time,
and with the same technique, I'll introduce
the blue into the crevice shadows.
Now I'll saturate the border of the shadow
body a little bit with a saturated color
to note down the half tone.
I will follow the contour of the shadow
body and keep it roughly the same shape.
Lastly, to finish off, I'll define the stray stand
that overlaps the entire hair because we lost some
of that detail as we were rendering just now.
I'll render it last.
And that's our first chunk of hair complete.
Usually I use this style of hair for the
bangs, as the shape is short and bouncy.
Now let's apply that to a long strand of hair.
These shapes of hair will be more suitable
for the side hairs and the back hairs.
The process will be mostly similar, but when
we have twists like this, we have to
take note of the different surfaces.
I have noted down where the light is coming from, and
I'll just highlight the part that is facing the light.
Having two tones like this can really emphasize
the twist in the hair to show that
there are different sides facing different directions.
And I'll do the same for the other hair, too.
The light is coming from the right,
so the middle portion will be highlighted.
I'll make the shadow part even darker cos I think it's
a bit too light in contrast to the light part.
Now, before we start shading, let's
color in the lineart.
I'll just get a deep, dark, saturated version
of the base color and paint it in
with the lineart layer Alpha locked.
And now we are ready to render.
So I'll combine the lineart layers with the color layers.
I'm just gonna get a shadow color
for the dark part, and I'll start shading
it in, following the flow of the hair.
Similarly to the bangs.
I'll keep the shadows in sort of a "V"
shape by painting the strokes sharply downwards.
And I'll do the same for the light part.
And with our base shadow bodies down,
let's start on the crevice shadows.
Like always, I think about the overlap of the hair
pieces and see where the light is coming from.
When we have twist of long pieces of hair like
this, generally I'll put a crevice shadow where the twist is,
as that really emphasizes the turning of the hair piece.
I'm going to highlight the part directly facing the light
source a little bit just to emphasize the lighting.
And we can get started adding our secondary color.
I chose an analogous color, which already happens to be blue.
And I quite like the look of it already,
so I'm just going to stick with this color.
Now I'll do the same for the light part.
I'll pick a lighter blue this time
since it's in the lighted part.
Now let's paint in the half tone
with more saturated color.
Again, we follow the outline of the shadow body in the
same "V" shapes, and the same thing for the shadowed part.
I'll paint the highlighted part even brighter because
I still think it's a bit dark.
And add on a saturated part for the half tone.
And we're done.
Now let's move on to the third piece.
We're going to follow the same
process with shadow color first.
Again, you can see my strokes following the flow of
the hair and how I sculpt the "V" shaped shadows.
With our shadow bodies done, we can go in
with our crevice shadows like the previous long strand,
I put crevice shadows where the
twist is to emphasize that folding.
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And now for our secondary color, I'm gonna
choose an analogous color this time.
And finally, we paint in with a
saturated color for the half tone.
And that's the step by step process
of how I render the hair.
Let's apply what we learnt
to the character illustration now.
Since we have our base shadows roughly
there from our painting plan stage, we'll be
starting out with painting in the crevice shadows.
While I do that, I'll also be cleaning up the line art.
Unlike the practice previously, we don't
have really clean line art here.
So as I paint in the crevice shadows with
the dark color, I'll just go into the borders
and start to define my line art.
I can start to think about where the hair is coming
from and what kind of layers are present in it.
Over here I was thinking this small strand would
kind of bump out so it will cause that
little shadow up there near the hair's origin.
I'll also start adding the line art and
cleaning up the other part of her bangs.
Because my sketch is still visible, I'll be
working on painting over the messy lines.
Now that we have our overall shape more defined,
I'm going to start painting in the shadow body.
Like our practice earlier, I will paint in very
sharp "V" shapes, following the flow of the hair.
And as I paint, I constantly define my lines where
I think they still look too rough and clean them
up where I think they look too messy.
Now I'll do the same for the
top, and define the big shadows there.
Again, they'll follow the flow of the hair, and I
like to paint them in sort of "V" shapes.
Now let's introduce some secondary colors.
For the dark parts, I'm going to go
in with an analogous blue and sort of introduce
it really lightly to our crevice shadows.
And now for our shadow body, I'm
going to choose a complementary color.
I'll paint that in to the large part of the
shadow, but remembering not to go over the Terminator
of the shadow so we can still see that
darker purple coming out from below.
Notice how whenever I sculpt any shadows or
highlights in the hair, I always go in
that sort of "V" or Zigzag shape.
When we stick to this shape, it really shows the flow
of the hair and gives the illusion of many more strands.
Even though we are just drawing one big chunk,
I'm going to add more crevice shadows here to
break up this big strand into smaller parts.
Now I'll move on to the highlighted part of her hair.
We have sort of a blue tint
to it from the painting plan stage.
So now I'm just going to paint a
slightly brighter and less saturated color into it.
Again, I remain within the border of the blue
and go in that same Zigzag "V" shape.
Now we're pretty much done with
the main part of the hair.
I'm just going to make this small strand
by the side here a bit thinner.
I'll pick her skin color and paint over the hair
to kind of erase it and make it thinner.
Now I'm going to add the stray strands.
I leave them to last because I'll overlap
them over the main part of the hair.
I will either paint them on by drawing the
strand with a shadow color, then painting on with
the base color, or I use the base color
first, then paint on the shadows or the line art.
As always, I follow the general flow and direction of
the hair, but we can emphasize the curves as if
they are being blown up by some wind.
I'll have one on top here, too,
and we can add an extra strength to the tip over here.
Now let's move on to the other part of her bangs.
I will define our big shadow
bodies first with the "V" shapes.
And because our side hairs kind of bump up,
they are gonna create a shadow along its border.
And between the light and the shadow, we're going
to paint in an extra saturated half tone.
I will also introduce a bit of yellow
because our sunlight has a yellow tint and
I'll continue to sculpt the shadows.
I'll also start to draw on the crevice shadows,
and paint on the stray strands.
And I'll extend the lighting on the stray strand
as well around where the light hits the hair.
And that's our bangs done.
Now, I'll move on to her side
hair. Because everything is so rough.
I'm gonna start out by defining the shape.
I'll draw in the line art of the whole piece, and the
overall flow is going to be very similar to her bangs.
It's being kind of blown to the left, and there's
a little curl back to the right at the end.
I'll shade it in with a shadow color, but I'll
introduce the hint of pink that we covered up back.
I'll start adding stray strands, and again it will
follow the flow, but the curves can be exaggerated.
And I use the color of the highlight from the
bang to paint on the highlights of the side hairs.
Because this back part of her hair is in the way.
I'm just going to cut and paste it out for now.
When I got it in the selection, I'll
drag three fingers down, press cut and paste,
and it will be isolated onto another layer.
Now I can just focus on rendering
this part of the side hair.
I'm going to erase this part here to make
it look more flowy and have different layers.
I like to do this when I have long
strands of hair that look a bit too thick.
It's a really good way to split them up into
smaller pieces, and it also adds a feeling of movement.
I'm going to use the Liquify tool to
exaggerate the curves so it looks even more
flowy, like it's being blown in the wind.
And I'll add some stray strands to the end.
I'll clean everything up, and we can
move on to the back hair.
I'll start off with the parting on the top of her head.
It will curve back towards the back of her head,
as her head is a sphere.
I will first go in with a pretty
dark shadow color and start sculpting outwards.
Take note that we will be working from
dark to light, so we can paint on
a pretty big portion of the dark shadow.
As I will use a lighter color
and paint over it like this.
The hairs will always be coming out from
that point when I paint using the dark
shadow, I'll paint coming out from that line.
And when I sculpt the light part, I will move
with strokes going towards the line like I did here.
And as always, I'll keep on cleaning
up my rough lines as I paint.
I'm gonna add a little bit of a highlight
here, since it's kind of facing the light a
little bit, and it will really show that dimension
of the hair going into the parting.
Now let's render this strand of
the back hair over here.
I'll use my eraser, and I'm going to clean
it up a little bit so that we have
a nice and clean silhouette to work on.
I'm going to do a twist here, so let's
apply what we learned from the practice just now.
I'm first going to use the Distort tool to just bend
it a bit and make it more curved so that the
movement of it being blown by the wind is really exaggerated.
But take note that the flow of
the overall hair is still the same.
Now let's start detailing it.
I colored in the surface that's kind of facing downwards
with a darker color to make it more obvious that
there's a twist and there's two different sides.
And now I'm just going to add the stray strands.
When the hair curves down, I like
to add a straight strand like this.
I think it really just adds to the
flowiness and the fluid look of hair.
And to emphasize the dimension, I'll paint on
shadows and crevice shadows in the stray hairs
too, especially the ones that are pretty thick,
like the one I just painted on.
Now I'm going to block in the rest of the
back hair using the other hairs, like the side hairs
and the strand I just drew as a guide.
I'll go in a very similar direction, Again, following
the overall flow and direction of the hair.
For the back hair on the right here, I'm going to exaggerate
its curve a lot.
But if you compare it to the other
hair we can see that the flow is still the same.
It first kind of bends into a curve and then it
curls to the right at the end and we can use
our liquefied tool to help us with the flow.
And I'll continue rendering the rest of the hair using the same techniques.
While I always keep in mind where the hair
is overlapping each other and where the light is
coming from to cast what kind of shadows.
I finished rendering the hair here and you can see how
all strands of the hair follow a similar flow before we
end off I'll quickly go through how I paint eyebrows.
I've just used the shadow color to paint
on the eyebrows really simply with the inner
part slightly thicker than the outer part.
Next I'll take the hair base color and just
go over really lightly the middle of the lines.
I'll define it a little bit more with
a darker color and I do the final
adjustments of the position with the liquify tool.
When I'm happy with the position I'll
use the lasso tool and select the
parts that are overlapping with her hair.
Once those parts are selected I'll use the eraser
tool and I'll just erase those parts very slightly
so that the parts of her eyebrows that are
underneath her hair are more translucent and that's our
hair done the whole process was pretty long.
It took me just under an hour so if you
would like to watch the full thing unedited, I'll leave
that as an attachment in the class notes. For today's
mission practice rendering the three bunches of hair we covered
earlier this lesson then move on to your character illustration
and finish rendering the hair of your character.
In this lesson we learn how to render hair
and finish rendering the hair of our character.
In the next lesson we will finish up
our character by rendering her clothes and I'll
go over technique that can help you tackle
different and more difficult materials.