Okay, so I’m trying to get that sweep of the hair.

It’s descriptive of the face.

When that throws forward like that, those locks, that’s reminiscent of the cheekbone
going from back to forward, then down, and then from the cheeks and mouth back to
forward.
We have that cascading forward.
This is very reminiscent of that.
And since this is going to be about the hair, we’ll let the features and the face be really,
really simple.
I guess those shadow, the most graphic shadow shapes.
Then the hair becomes the featured attraction.
Notice that forward and down idea.
Since I’m pretty particular about how those shapes are going to be, I’m going to let
the hair come forward here and just lose that lower structure.
Now I really want that hairstyle, and it doesn’t always do this, but you almost always want
it to do this.
And it will usually do it.
I want to feel that back of the skull, front of the face.
Biggest mistake I think people do when they’re drawing hair is they just draw the hair and
not paying attention to what the hair should be describing.
I’m kind of changing directions a little bit in the direction of those locks so that
we feel the sense of a little bit of a messed up hair.
It’s not everything is perfect.
Okay, sometimes it can be really attractive.
You don’t let it wobble in for the neck.
You just let it go straight on down.
Ideally, we’d feel right on down to the body.
Okay, now the kicker on this is going to be—with the toned
paper it’s particularly nice for shiny kind of shampoo commercial hair.
You can really get that lovely sheen with the highlights.
Usually when you’re doing the highlights, look at the highlights in a Watteau drawing,
for example.
Almost nonexistent, just barely indicated.
Piazzetta had more, but still, most of the time the old masters and the academic draftsman,
artists would really minimize the highlights.
They’d be not there or barely there.
But, since we live in a much more wild and loud world, we tend to like things a little
more dramatic, dynamic, and even melodramatic.
And so, you can play those up strongly and really get the beautiful…and we can have
a little bit of the tangle and the mess there if we want.
9:29 It’s always fun to work with pen.
I’m just using a cheap ballpoint pen.
The idea is that you’re trying to get your realism, whatever level of realism you’re
working.
In this case, values are incorporated.
You’re trying to get those to all work with just line, really.
Now I get a little bit of value change being able to make a light line and a dark line,
but it is really just value through line, so the hatching then
becomes the tool.
We’re getting all the nuances of the world, or at least getting all the nuances of the
world that you find important.
We’re a little bit underneath this head, and so the eyes are being built like this.
Where the forehead is that drops a little bit lower, and so on.
That beautiful cheekbone of hers.
I’m always looking for the, not just the placement of the hair but the growth pattern.
Which way are the locks or the strands going to and coming from?
And all this hair sweeping back, what I’m looking for is, in this case, how it’s
picking up the neck, swinging back.
We have that neck going back this way.
I’m going to have the hair to make it simpler.
Swing back and repeat that idea and then, of course, bind up and pass over the shoulder
in a lovely way.
Again, as always, we want the hair to go back subtly as it is here or more powerfully as
it is here.
Here I’m playing down the back of the hair a little bit.
Here I’m playing it up, so you can take your pick.
Of course, you could do it both ways as I just did kind of get a sense of which one
you like better and all that good stuff.
It’s nice to have choices.
It’s nice to expend the energy to try things more than one way.
Sometimes we just kind of settle, and we say pretty good.
Okay, that’s good, what’s next, rather than I think I can make that really great.
Let me try that again.
And sometimes I’ll do something again because I want to make it really great.
I’ll find, you know, actually the first time was really very good.
I don’t know what was bothering me about it.
And that can be valuable, too, just to have done it again.
Everything doesn’t have to be on the clock and making money for you or being efficient.
Sometimes just trying stuff and saying, no, I’m okay actually with the way it was, but
still be glad you tried.
So, there are going to be these pathways, these groupings of hair
are going to bind up.
We have the little side plane temple area.
Top area here.
This top area tangles and twists a little bit as it works over the shoulders.
I’m going to pull this back here a little bit more now.
Then we can sometimes have fun with something
and make it really dark back here.
Maybe I really want to get this big, beautiful shape of hair
and make that nice and dark and separate.
Then we’ll add stuff to it.
Okay, so now I’m going to come in and add some highlights as we did here, but I’m
going to keep those
pretty subtle up here.
I’m going to pick them up down here.
Make this a bigger deal here.
And then we can...
create this lovely negative shape as a real strong contrast, just for something different.
Just come back and pick out a few little accents, and we could spend all day doing that.
Just to give it a little bit of weight, just a hint at how contrasting the world can be
and sometimes is, even though the whole composition…