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either thank you so much for clicking the thumbnail and being interested in my work in this video i share with you my techniques and tips on how i achieve the hair so be sure to watch it right through to the end because here and there i'll be slowing it down so you can take a closer look so let's dive in and take a look [Music] right just to recap on part one how did the outline and the underdrawing so the outlines done by freehand method please check out the three ways how to draw the outline in my channel if you want to know more for the underdrawing i used four colors burnt umber which is the brown yellow ochre and then ultramarine blue and white relax find the flow and movement and just see it as shapes basic shapes and get those in and just try and get proportions so don't worry too much about the detail of this stage what i tend to do first before i start putting the colors into the hair is to check what grays is the closest color to what i'm looking for so i've got a selection of greys from carandy ash and also carbothello ones and just check in and point it against the image to see what would work these pencils seem to suit best and then we've got the basic primary colors [Music] and then this is how i hold them in my left hand so laying over a color which is very similar but it's not exact so that's why you need the primers over the top to change that but before i carry it on i realized i needed to get that background in because i won't be able to judge the colours properly now i decided on a blue violet colour which will bring out the warm tones in the skin the yellows and the oranges um so that really helped so i've used the karen the ash pencil with a rembrandt stick which are very similar colour which is a blue violet [Music] i've started off with a color which is very similar to where i wanted and just keeping the movements flowing and soft i wanted to create a a softness that the eyes don't get drawn to it too much so not too much detail and not too much contrast as well so i've kept things sort of subtle reason being is i want the viewers eyes really to be drawn towards antigens eyes and their energy now this color is not exactly the right color i'm using which is the close to it but then i'm mixing the colors over the top of that now i'm using the brown blue yellow and red so it's the primary colours and also the brown and just plain about mixing them and trying to find the correct colour now to get this shadow of these colours i'm using brown and blue because that that makes really nice grays and it's really good for a shadow in color that's a hard to find what complement it is so brown and blue i suggest using that it's really nice combination it's like burnt umber and ultramarine if you are getting value from this video why not subscribe it's absolutely free then you're sure not to miss any my future videos now i've added the blue violet color in within the air of the edges there just to give it that sort of fly away air look you know and soft around the edges and just get your finger and rub it into it as well because if it mixes in a little bit on top of the hair it looks like the background color has gone over the top of it and it looks quite natural so i'm worth experimenting with now over the white these are the colors i'm using to actually do the subtleties now it's red blue and yellow which is a yellow ochre and the red is replaced by actually a burnt sienna but it's a red brownie colour so that's the red and then the ultramarine and you just use that like you would normally when you're mixing your primaries but you're just using those colors instead of you know like cadmium red cadmium yellow and ultramarine blue you just swap those two colors over to something a bit more subtler for the intense highlights and i'm using the karen diash white then when you glaze over the top the marks don't move because the candy ash pencils cling to the pastel matte more so when you glaze over the top you don't lose the mark you've made so they're really excellent for doing that so if you can't afford any other color of the carandy ash set buy the white and then just glaze over the top the other yellow i'm using with the yellow ochre is lemon yellow now use the lemon yellow if it needs to be lifted if if there's more chroma in that area or more saturation if you add a little bit of lemon yellow it just lifts it up and gives it that sparkle [Music] the burnt sienna and the ultramarine blue really make nice shadows as well very subtle colours um and our upright on as well i don't press on the pencil a lot it's just just like scrapes across the surface and i only put it in sporadically as well so you're actually trying to get a texture so you you're sensing the the actual movement of the hair and the flow of the hair while you're doing it and just let your hands go in that direction now drawing hair can be very daunting and can be tedious you can stretch it out thinking how the hell i'm going to do all that now my approach is to just see it as light and shade as blocks of color as flow and movement and then just start off with big shapes and then go more more detailed and that's the sort of way i tend to sort of do and not get too involved with trying to put every little detail exactly the same as a reference image you just let it flow and and just enjoy it really i mean you think if you was drawing somebody from life they've only got to brush their hair back and it's all totally different so i don't tend to stress myself out trying to draw every hair the same as what the reference is now this part of the drawing what i'm doing is just making sure that the values are correct so i'm standing back a lot squinting my eyes and then getting a feel for what shade it should be see you've got to bear in mind that the lightest dark should never be the same as the darkest light or she picture will look flat so you've got to make sure that the highlights are not too highlights and you've got to be really subtle down by putting the glazing over the top so it still looks like a highlight but it's very subtle and that way it gives it that 3d look rather than flat because if you have these highlights too light in the darkest areas it'll just throw the eye all over the place now when you've done the hair in the background it's surprising how it brings things out that needs to be changed in the face what you've already done you may be a little bit subtler here a bit more color here a bit more highlight here and there so it's a case of just going over things uh squinting your eyes again just making everything balance up connecting the the face colours with the hair [Music] usually i'll wait until everything's in place so once i've done the jumper and the cross and chain there then i'll go back to the face and the hair and then everything will just then be looked at as a whole and corrected accordingly so that's the sort of thing what i tend to do at the end what i'm doing now but i'm just showing you just a little bit of what i usually do if you're enjoying this video why not give it a like and share it with your friends i'd really appreciate that because that would help the channel to grow now at the end of part one i didn't mention that i was going to do the hair the background and the clothes but i feel that i needed to spend more time with the hair making it more slower in places and just to dedicate a video on its own for the knitted fabric so you can take a closer look at how i do wool and the texture so that will be next week part three so be sure to keep a look out for that hope you've enjoyed the video here's the portrait at the correct angle thank you for watching the video right through to the end if you found value in it and you liked the video please give it a thumbs up appreciate it would help the channel leave a comment and a message in the comments below let me know what sort of videos you want me to produce i've actually left a couple of links here for you to uh click on and to subscribe click on the circle here it's absolutely free and then you're sure not to miss any future videos thank you so much take care and be well
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