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Vector hair
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2.1 Hollywood Blonde: Sketching and Base Shapes

Hey all. Welcome back to Creative Vector Hair on Tuts+. My name is Sharon Milne and in this lesson we're going to start off our first project which is creating a glamorous red carpet hair look. Whenever I think of glamorous, I think of the ladies on the red carpets at award ceremonies. This is what's going to inspire our first project. Before starting any hair project, do some research in the style you wish to achieve. Now, I googled Hollywood hair. And the most common hairstyle which appeared is beautifully shown here in a stock image that I've gotten from Photo Dune. The hair's swept back to the side, and there's long tressels of soft curls. So, I'm gonna take the style and render it. The main purpose of this first project is to show you how to, firstly, sketch the hair style, then render it. But to also show you how to correctly render and color blonde hair. It's not as easy as you would think, there's some misconceptions when rendering pale hair color. On top of that, you'll learn how to create a few variations in the style as you personalize this project to be your own. This first lesson, I'll show you how to sketch the hair, and then create the important base shapes. So here we have our portrait base, which I'll be using for all our projects in this course. If you're wanting to follow along, there's a hairdesignbase.ai file available in the course's resources you can download to use. Let's start by creating a new layer in the layers panel and renaming it Hair Sketch. I'm going to make the stock image underneath visible to draw some important guidelines from. This is important so I can create an accurate mapping of the hair. For the sketching, I'm going to use the blob brush tool. In Adobe Illustrator CC, you can find this by holding down the Paintbrush tool in the Tools panel and selecting the Blob brush tool from the drop out menu. I'm gonna set the size to three points. And for it to be effected by the tablet pressure and with a variation of three points. Then click on OK. So, what are these guidelines I'm referring to? Well, whenever you're creating a hairstyle, you need to know where to realistically place the hair, and what parts of the skull needs to be covered. So first you need to map out where the hairline is. This is so you know where the hair has to cover on the forehead. Next you'll need to map out the area of the skull. Now this may not be as accurate as you'd like, but we can guess from the stock image underneath. This model has her hair tied back, so we can assume the lower points of the hair are the closest to the skull, therefore draw around those. Now the reason we do this is because our hair design must cover this area. Otherwise she may look as if she's got a flat head, and that won't look realistic. Let's reduce the opacity, and use this as our guide, and just lock the layer in place. So regardless of the design we're doing, we need to use this guide every time. So let's start sketching our designs. You'll notice for most of these projects I sketch out several designs. While I'll have a good idea of what I'm wanting to create, I just want to make sure the sketch looks like if it's the person I'm drawing it on. With sketch one, I opted for a parting on the left and the hair falling down the right side. While I like the way the hair has soft curls, it felt as if it had too much volume and not enough balance to the composition. I reduce the opacity and then create a new layer so I can begin sketching the next design. This next sketch I'm going to bring in the volume out the side and perhaps not have the hair overlapping the forehead. I'll push it up at the front and give more prominence to the face. However, when I did come to finish this sketch, I didn't like how the curls were laying. Back to the drawing board. For this next sketch, I decided to switch things up and put the curls on the other side of the face. Again, I'm going to have one side pretty close to the scalp with long, flowing, soft curls. Although I like this look, I feel the curls don't look as soft and flowing. This final sketch I actually really like the few curls I've got and how sleek the hair sketch looks on the side of the head. I think this is definitely going in the right direction. I'm pretty indecisive so I'm just going to look through the past sketches and settle on one that I like best, which is the last one I created. I'm going to modify the volume of the hair from this final sketch. I do this using the Lasso tool to select portions of the hair. Then by either using the Free Transform tool or the Direct Selection tool, I move the selected areas in place. I would usually delete any sketches I don't need. However, what I'll be doing in this course is keeping all my sketches in the corresponding project files. So you can go back through them should you wish to. So after you've decided which sketch you're going with, it's time to begin building the bases for the hair. Let's create a new layer for the bases and place it underneath the sketch. This is so I can create the hair bases and still see the sketch on top. The majority of times, best way to create any base is to trace around the shape you're wishing to create. It seems simple enough, however sometimes it's hard and time consuming to create complex shapes, all the while keeping a natural looking base. This is especially the case when you're creating the base shape which has an exposed hairline. In order to create this shape, let's first create the hairs for the hairline. I do this with a tapered brush and using the Paintbrush tool. Just draw short strokes along the hairline. Remember to follow the direction of the hair to keep it natural. In this case, there is a hair parting, and this should mean that the part of the scalp is exposed at the top, too. So draw around it. Don't worry that there isn't enough skin to show through. We'll remedy this in a minute. Now select all the strokes, and go to Object expand, and Object expand appearance. This will convert your brush strokes into fittles. Then using the path finder panel, select unite. If you find you've got multiple shapes, and they're grouped together, a great tip is to use the Blob brush tool, and connect the shapes together. Draw along top of the fills as you don't want to distort the organic looking hairline on the forehead you've created. Using the Pen tool, trace around the outside of the hair which is on top. Don't worry about the hair which is underneath the curls next to the neck. We're focusing on the hair which overlaps on the face. When it comes to connecting the shape over the hairline, remember to draw along near the top of the hairline. Again, it's so you are not distorting the look of the hair. Select both the hairline and the Pen tool created shape, and use Pathfinder Unite to combine them. Create a new layer below the skin layers. This is where we'll now add shapes for the hair which is out the back. Now, to pick out some blonde hair colors for the base. You can do this by going into the Swatches panel, then into the Drill Down menu. Select Open swatch library and then nature, then beach. We're going to aim for sandy tones. The reason being is that blonde hair is not yellow. I'll repeat that. Blonde hair is not yellow. Well, natural blonde hair isn't yellow. It's really a more de-saturated brown tone. The yellow tones typically happen when the hair's chemically treated. I'm going to use a light brown on top and then use a darker color underneath in the shapes behind the portrait. Now to rectify the parting in the hair specifically the skin underneath. I do this by going into the original skin shading groups and modifying the shape so they extend beyond the hair parting to ensure and even coverage. And there we have our hair base ready for the next stage. Next time I'm Creative Vector Hair, I'm going to show you how to render the hair. Thanks for listening.

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