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2.5 Create Complex Hair From a Simple Brush

Hey, all. Welcome back to an Introduction to Back to Line Art. My name is Cheryl Mellon, and in this lesson I'm going to show you how to create detailed line hair art using an art brush. I know that preview image at the beginning may look complicated, but it's easier than you think. The reason being is that we're going to get creative with an art brush. And really it's a modification of our first tapered brush. Take the line segment tool and draw a horizontal line. Holding on to shift will ensure it's perfectly straight. Then apply the type adult brush that we created earlier on. Now let's up that stroke wait to say 40 points. So it's essentially now you've got a larger version of the tapered brush. With the line selected let's go up to object if spanned to convert the line into a shape. Give the shape a two point black stroke weight, and a white fill. This will be the main shape of the brush. The white fill will prevent any strokes underneath from showing. So it's perfect for layering and creating 80s curls. Duplicate the shape and reduce the stroke weight to knot 0.5. Then using the free transform tool hold shift and reduce the height. This will bring both the top and bottom in and begin creating the sole lines within the overall tapered shape. Repeat this process to create further tapered shapes within the main shape. Always with the same stroke weight of 0.5. Group together all the shapes. And let's create a new out brush from it. I'm going to name it hair brush and change the colorization method to tense. Once you're done, click on OK. Let's delete the shapes for the brush and get down to some hair creating. Breaking down the hair I'm going to need to create the hair, which is coming from behind the head, and which is overlapping the head, which leaves us with a small issue. As our face is just line art any hair that would be created behind the head would show. So I'm going to need to prevent this from happening by giving the face a white fill so to speak. First let's create a new layer behind the main line art. I'm going to duplicate the face shape and place it in a new layer behind the head. Then as it's a compound path I'm going to release it and fill the smaller shape with a white fill. Then I delete the larger shape as this isn't required. This white fill shape will now hide an overlapping hair behind the head. Just to show you I'm going to just scribble in a new layer behind the white fill shape. Right. I'm going to rename the layers, and let's get onto the fun part. Using the paint brush tool with the hair brush I'm going to draw waves of hair coming from behind the head. It's much easier to create the hair of the very back of the portrait first, and then add the hair which is going to be more visible at the front at the end. So start by creating enough hair to cover the entire background behind the head, and then build up to the front curls. It may seem obvious but if a curl doesn't look right, or the placement isn't spot on then just undo and start again with a new curl. I know I do this over and over again with the hair. One thing I love about this hairbrush is that with the lines tapering towards the tip it creates an almost gradient effect. Therefore doggening the ends of the curls making them stand out more. It helps define them from each other with minimal effort. Now to add hair which is on top of the head and overlapping the face. As before I'm blocking out the background first with the hair coming over the parting on the head. These strokes won't be as visible as the ones on the front. I then add more control curls of the front and try making the starting point more densely placed in the parting to cover as much of the forehead real estate as possible. I must try the style with a snake brush to try create a Medusa portrait at some point as this is definitely going in that direction. I want to add some thicker line art around those sections of the hair. This is so you can clearly see the hair which is on top of the head versus the hair which is behind the head. I do this by duplicating the hair strokes on top into the new layer. I then object expand these strokes until all the fills are null. I then object expand the strokes until it's all fills. Using the pathfinder panel I unite them. I then move the layer above the white filled face shape, put under the top of the hair, and merge it down to the side a bit so it creates a pseudo shadow effect. Shall it produce the white in the parting I'm going to use the blob brush tool to connect the white areas. I don't feel this addition is enough, so I use the pen tool to create a dark root effect in the base of the hair parting. This looks a lot tidier, but I will tweak it later on. Now to add the shadow effect on the hair behind the head. So as before I duplicate the strokes of the hair behind and expand them until they're all fills. That is pathfinding unite to combine the shades and nudge them into plates. I use a blood brush to transfer the detail into the dark roots of the parting. It's still not perfect by keep on going back to this. There's something missing in this portrait. She's not got any ears. So I create two white filled shapes with three point stroke weight for the ears either side of the portrait behind the white filled shape for the face. Finally I finish off the parting by using the the tapered brush to tidy up the dark roots. This is more like what I've been envisioning for the hair. It's looking very 80s now. So I think I'll stick with that theme for the last part of the course. Next time on an Introduction to Vector Line Art I'm going to be out in the finishing touches, which involves adding jewelry thanks to a cunning scatter brush. Thanks for listening.

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