For a long time, drawing hair felt like my biggest artistic challenge. I would try to draw every single strand, ending up with a stiff, unnatural mess that looked more like a helmet than flowing hair. It was frustrating until I realized a simple truth: we don’t see hair strand by strand. We see it as shapes, textures, and flows of light and shadow.
Start With the Big Shapes First
Before you even think about details, block in the hair’s overall shape. Think of it as a solid mass or a silhouette. What is its general outline? Is it short and spiky, or long and wavy? Getting this foundation right is the most important step. This shape is the canvas for everything that follows.
Thinking in Clumps, Not Strands
Instead of drawing thousands of lines, try drawing groups of hair. Hair naturally clumps together. Look for the major sections and flows. Draw the outlines of these bigger clumps, and then within those, suggest smaller groups. This immediately gives your drawing a more organic and believable feel. Remember, you’re suggesting texture, not cataloging every hair.
Let Your Lines Flow with Movement
The direction of your pencil strokes matters immensely. Follow the flow and direction of the hair. For long, straight hair, use long, confident strokes. For curls, use curved, overlapping lines. Your lines should feel dynamic, not static. This is what brings a sense of life and movement to your drawing.
Using Shadows to Build Volume
This is the secret to making hair look real. Identify where your light source is coming from. The areas furthest from the light will be in shadow. Use your pencil to build up these darker values, especially where the hair parts, or where clumps overlap. Leave lighter areas to show where the light hits. This contrast between light and shadow is what creates the illusion of volume and softness.
Drawing hair is a process of suggestion, not perfection. Start with the big shapes, group your lines, and let light and shadow do the heavy lifting. With practice, you’ll find a rhythm that makes drawing hair one of the most satisfying parts of a portrait.