#image_title
Ever stared at a photo of a friend’s glossy hair and thought, “I wish I could capture that sparkle with my colored pencils?” You’re not alone – many of us have that exact moment of awe and a pinch of frustration when the strands look flat on the page.
What we’ve seen work best is to treat hair like a landscape of light and shadow, not just a mass of color. Start by observing the direction of each strand, the way a stray lock catches the sun, and the subtle shift from a deep base hue to a highlight. For beginners in India or students in art classes, the first step is simply sketching the overall shape with a light hard pencil – think of it as laying down the road map before you fill in the scenery.
Next, grab a soft colored pencil (like a 6B or a light‑fast pastel shade) and begin layering. Light, feather‑like strokes build volume; then use a slightly darker tone to define the root and any natural shadows. A quick tip we love: keep a blending stump handy for the mid‑tones, but don’t over‑blend – a little texture keeps the hair looking lively.
Here’s a quick three‑step action plan you can try right now:
If you’re looking for a starter guide that breaks down each of these moves, check out Beginner Tips: Drawing Hair with Colored Pencils. It walks you through the same process with sample sketches you can follow step by step.
Also, inspiration matters. A quick browse of professional artwork can spark new ideas about texture and color choices. For that visual boost, you might visit Gratitude Studios – they showcase vibrant landscape paintings that illustrate how light interacts with organic forms, a principle you can translate to hair strands.
So, grab your pencils, set up a good light source, and let the hair come alive on your paper. The next time you look at a portrait, you’ll recognize the same techniques you just practiced, and you’ll feel the confidence to tackle even the most tangled locks.
If you’ve ever struggled to make hair strands look lively with colored pencils, this guide shows you exactly how to draw hair with colored pencils— from sketching flow to layering shades and adding subtle highlights—so your portraits gain realistic shine and texture. Follow our quick three‑step action plan, use the right pressure and blending tools, and you’ll see immediate improvement, whether you’re a student in India, a hobbyist, or a seasoned artist.
Okay, before you even think about the first strand of hair, you need the right gear. It feels a bit like gearing up for a hike – the better your kit, the smoother the journey.
First off, the pencil itself. For realistic hair you’ll want a soft core, something in the 4B‑6B range, because it gives you that buttery lay‑down you need for smooth transitions. If you’re in India or studying art, a locally‑sourced brand that offers a consistent pigment load can save you a lot of frustration.
Next, paper matters more than you might think. A bit of tooth – think 140‑200 gsm textured drawing paper – catches the pigment and lets you build depth without the paper turning into a soggy mess. We often recommend a light‑grey toned paper; the subtle contrast helps you see where shadows naturally form.
Now, sharpening. A good quality metal or plastic sharpener that lets you control the point angle is worth the extra penny. A fine tip lets you render those fine fly‑away strands, while a broader tip works for the bulk of a lock. If you’re curious about sharpening techniques, our guide on how to sharpen colored pencils walks you through the why and how.
Blending is where the magic happens. A colourless blender or a soft blending stump can smooth out the mid‑tones, but don’t over‑do it – a little texture keeps hair lively. Some artists even use a clean cotton swab for delicate highlights.
Burnishing finishes the job. A colourless wax stick pressed gently over layered colours melts the pigment together, giving you that glossy strand look. If you need a quick refresher, our step‑by‑step burnishing guide is just a click away.
And here’s a quick visual aid – a short video that walks through the whole material setup, from pencil choice to burnishing. Grab a cup of tea and follow along.
While you’re watching, think about how each tool feels in your hand. Does the sharpener glide? Does the stump glide smoothly? Those tiny sensory cues can tell you whether you’re on the right track.
If you ever feel stuck, a quick mental break can help. Lyndsey Crawford, a well‑known art educator, suggests stepping away for a minute and visualising the hair you want to capture. Her advice on staying mindful while drawing can be found on her website. It’s a simple reminder that calm hands produce smoother lines.
Below is a handy table that sums up the must‑have items and a couple of optional extras you might consider as you grow more confident.
| Tool | Why It Matters | Tip for Use |
|---|---|---|
| Soft colored pencils (4B‑6B) | Provides rich, blendable pigment | Layer light to dark, keep pressure gentle |
| Textured drawing paper (140‑200 gsm) | Catches pigment, adds depth | Try a light‑grey base for better contrast |
| Colourless blender / blending stump | Smoothes mid‑tones without losing texture | Use sparingly; blend in circular motions |
| Burnishing stick (wax) | Creates glossy, hair‑like sheen | Press lightly after layering colors |
| Fine‑point sharpener | Sharp tips for fine strands | Adjust angle to 30° for precision |
One more thought: when you’re choosing accessories, consider something that reminds you to stay relaxed. A tiny peace‑inspiring token, like the Serenity Prayer keychain, can be a subtle cue to breathe and keep your hand steady. Learn how to pick and personalize one in this practical guide. It’s a small habit that can make a big difference when you’re working on those delicate hair strands.
With the right pencils, paper, and a few trusty tools, you’ll find that drawing hair feels less like a chore and more like a conversation with the page. Grab your kit, set up a comfortable workspace, and let those strands start to flow.
When you first pick up a 2H to map out hair, it feels a bit like tracing a road map before you set off on a road trip. You’re not trying to capture every strand yet – you’re just telling your brain where the hair will flow.
And that first line is the secret sauce that keeps the rest of the drawing from looking “stuck”. If the outline follows the natural curve of the head, the layers you add later will sit naturally, just like a real mane catches light.
Take a moment to study the reference photo. Notice three things: the overall direction of the hair (upward, downward, or swirling), the major break points where the hair changes direction, and the silhouette of the volume. In a bustling studio in Mumbai, a student once told us they’d spend five minutes just rotating the photo on their phone until the flow clicked – that tiny pause saved hours of re‑working.
Now, grab your 2H and lightly sketch the backbone of the hair. Use quick, gestural strokes; you’re not aiming for perfection, just a guide. A good trick is to draw the outline in a single colour that contrasts with your paper – many of us prefer a cool gray from a hard graphite pencil.
And here’s a pro tip: if you’re working on textured Canson Mi‑Teintes, the paper’s tooth will catch the hard lead nicely, giving you a visible but removable guide.
But what if you’re dealing with curly hair? The same principle applies – just think of each curl as a mini‑wave and sketch a series of gentle arches. Our colleagues in Delhi often start with a simple spiral sketch to capture the bounce before they switch to the soft pencils.
Once the outline feels right, step back. Does the hair flow feel like a river winding across the page? If something looks flat, tweak the curve now – it’s far easier to adjust a graphite line than a coloured layer.
When you’re satisfied, you can reinforce the most important edges with a slightly darker 2B. This tiny reinforcement gives you a visual anchor for where the darkest shadows will fall later.
For a quick visual walkthrough of sketching hair outlines, you might watch this short tutorial on YouTube. It breaks down the same gestures we just described and shows a real‑time example.
And remember, the outline is only the skeleton. The real magic happens when you start layering colour, but without a solid skeleton, the layers can become a tangled mess. So treat this step as the foundation of a house – the stronger the frame, the more beautiful the finish.
Ready to move on? Grab your coloured pencils, keep the outline visible, and let the hair start to come alive, one gentle stroke at a time.
Now that the outline is set, it’s time to bring the hair to life with colour. Think of the base layer as the canvas of a sunrise – it sets the mood before the highlights and shadows arrive.
In our experience, a warm brown (like a light 4B) works for most natural hair, while a cooler ash tone (a soft 3B) fits darker or grey‑ish strands. If you’re drawing a bright‑red bob, start with a vivid scarlet that’s a shade lighter than the final hue. The idea is to pick a colour that’s a touch lighter than the darkest value you’ll need later.
Why start light? Because coloured pencils are translucent. The first strokes act like a filter, allowing later layers to show through without muddying the mix.
1. Light pressure, long strokes. Hold the pencil at a relaxed 45‑degree angle and drag it along the direction of the hair flow. This builds a smooth, even foundation. If you press too hard, you’ll create a dense block that’s hard to lift.
2. Follow the outline. Use the sketch lines as a guide, but don’t trace them. Let the colour spill a little beyond the edge – that extra “bleed” mimics how real hair softens at the edges.
3. Layer in sections. Divide the mane into zones: roots, mid‑length, and tips. Apply a slightly richer tone at the roots (where natural hair is often darker) and a lighter tone toward the ends. This gradient mirrors how light penetrates a strand.
4. Blend gently. After each zone, take a clean blending stump and sweep lightly. The goal isn’t a perfect blur but a seamless transition. You’ll notice a subtle sheen appear as the pigment settles into the paper’s tooth.
Imagine you’re sketching a portrait of a college student in Mumbai who’s just stepped out of a monsoon drizzle. The hair is wet, so the base colour needs a cooler, slightly muted tone. Start with a soft slate‑blue pencil, lay it down lightly, and watch how the wet look emerges without any extra gloss.
Another scenario: a freelance illustrator in Delhi needs to draw a stylised cartoon lion. The mane is bold orange, but the base should be a warm apricot. By laying that apricot first, the later orange highlights pop without looking flat.
• Use a colourless blender after the base layer to lift any stray streaks – it’s like erasing the noise before you add detail.
• If you’re working on textured Canson Mi‑Teintes, the paper’s tooth will hold the light strokes nicely. On smoother Bristol, you may need to add an extra pass to get the same coverage.
• Don’t be afraid to experiment with a tiny dash of complementary colour (a hint of teal in a brown base) – it can give the hair a natural depth that pure browns miss.
Heavy pressure in the first pass often leads to a “brick‑wall” effect where later layers can’t glide. Also, avoid using a single colour for the whole head; even subtle shifts make the hair feel three‑dimensional.
And remember, the base colour isn’t the final look. It’s the stage where you set the temperature, tone, and overall mood of the hair.
Feeling confident? Great. The next step will be adding shadows and highlights to give those strands that unmistakable sparkle. If you’d like a visual walk‑through of laying down base colours, check out this helpful video on YouTube. It shows the exact hand motions we just described, so you can pause and practise along.
Now that the base colour is in place, it’s time to make those strands pop. Adding depth and highlights is the difference between a flat mass of colour and a mane that looks like it could sway in a breeze.
Think about the way sunlight hits a friend’s hair on a monsoon‑washed afternoon in Mumbai. Some strands catch the light, others stay in shadow. Those subtle shifts are what our eyes read as volume. If you skip this step, the hair will look like a single‑tone patch, no matter how many layers you’ve built.
1. Identify the core shadow zones. Look at your reference and notice where the hair folds under itself or where the head blocks the light. In a portrait of a student wearing a hat, the area under the brim is usually the darkest.
2. Choose a cooler, deeper hue. A touch of ultramarine or a dark cool brown works well on top of a warm base. In our experience, adding just a 10‑% amount of a cooler colour prevents the sketch from turning muddy.
3. Apply with light, directional strokes. Hold the pencil at a shallow angle and drag it along the hair flow. Use the same pressure you used for the base, but keep the strokes shorter. This mimics how natural shadows are tighter than the broad mid‑tone.
4. Blend just enough. A clean blending stump can soften the edge of the shadow, but stop before the transition becomes a seamless gradient – you still want a clear line where the shadow meets the highlight.
Highlights are tiny bursts of reflected light. They don’t have to cover the whole strand; a few specks are enough.
1. Pick a bright, warm colour. For brown hair, a pale ivory or a warm lemon yellow works. For black hair, a cool white or very light gray gives that glint.
2. Use a sharp point. A freshly sharpened 0.5 mm tip lets you place a highlight on a single hair. If you’re using a mechanical sharpener, a quick twist will give you that needle‑thin point.
3. Tap, don’t drag. Lightly tap the tip onto the strand where you want the shine. This “dot” technique creates a natural glint without smudging surrounding colour.
4. Layer subtly. If the highlight feels too harsh, go over it with a colourless blender. It will lift a fraction of the pigment, leaving a soft glow.
Imagine you’re drawing a portrait of a Delhi street vendor whose hair is slick from the afternoon heat. Start with a warm brown base, then add a cool indigo shadow along the side where the sun never reaches. Finish with a few ivory dots on the top strands – the result looks like a glossy, wind‑kissed mane.
Another scenario: a college student in Bangalore with dyed teal hair. After laying a teal‑blue base, deepen the low‑light areas with a muted navy and sprinkle bright turquoise highlights on the tips. The contrast makes the colour feel vibrant without looking over‑saturated.
Want to see these techniques in action? Check out this concise tutorial video that walks through placing shadows and highlights step by step.
And if you’re curious about how to blend those subtle transitions flawlessly, another quick video shows a professional artist using a colourless blender to lift pigment without erasing the underlying texture.
When you finish this step, the hair will have the three‑dimensional feel that makes a portrait truly come alive. Grab your pencils, take a breath, and start adding those little bits of depth – the magic is in the details.
Now that your shadows and highlights are in place, it’s time to smooth everything out so the hair looks like real strands catching light, not a patchwork of colour. This is where the magic really happens, and a little patience goes a long way.
Ever felt that a drawing still looks a bit “rough” even after you’ve layered all the tones? That’s usually because the transitions between the dark and light areas are still too crisp. Let’s loosen them up together.
Blending isn’t just about making colours look pretty; it’s about mimicking how light actually spreads across a curl or a fly‑away strand. When you gently merge a shadow into a mid‑tone, the eye reads depth instead of a hard edge. In our experience, artists who skip this step end up with hair that feels flat, no matter how many colours they use.
Think about the way a sunrise reflects off a wet strand of hair – the light diffuses, creating a soft halo. A good blend recreates that halo on paper.
Grab a clean colourless blender, a soft cotton swab, or even a fresh blending stump. If you’re working on Canson Mi‑Teintes, the textured side gives the blender a little “grip” so you can control how much pigment you lift. For smoother Bristol, a cotton swab can give you a lighter touch.
Make sure your sharpened pencil tip is still fine for those tiny highlight dots; a dull tip will just smudge instead of adding sparkle. And keep a spare eraser handy – a kneaded eraser works wonders for lifting stray pigment without damaging the paper.
Notice how each pass respects the natural direction of the strands. That subtle consistency is what convinces the viewer’s brain that the hair could actually move.
Now that the blend is smooth, add a whisper of a complementary colour to the lowlights – a hint of teal in brown hair or a touch of copper in black strands. This tiny surprise keeps the hair from looking flat.
Next, use a very light pressure to “burnish” the brightest highlights. A clean, dry blending stump can spread the pigment just enough to give a glossy sheen without erasing the texture you worked so hard to keep.
Finally, protect your masterpiece. A light mist of fixative (the kind we mentioned earlier) will keep the wax from blooming and prevent accidental smudges when you flip the page. Test the spray on a scrap piece first – that’s the safest habit we recommend.
Quick checklist before you call it done:
Take a step back, smile, and notice how the hair now catches light just like the real thing. You’ve just turned a flat sketch into a three‑dimensional cascade of colour – that’s the power of blending and finishing touches.
One of the most common slip‑ups is drawing hair without first deciding where the light is coming from. You’ll end up with highlights that float all over the page and shadows that feel random.
Fix it by placing a simple light‑source sketch – a tiny circle or a faint arrow – before you pick up a pencil. Then, as you layer colours, keep asking yourself, “Is this strand catching the light or hiding in shade?” It takes a second, but the result feels dramatically more three‑dimensional.
Many beginners press hard on the first pass, thinking a dark stroke will save time. The downside? The wax core gets compacted, making later layers hard to lift or blend. You’ll see a brick‑wall effect that looks more like a coloured block than a strand.
Our fix: start with a feather‑light hand, using 20 % of your usual pressure. Light strokes let the pigment sit on the paper’s tooth, so you can later add depth without fighting a stubborn base. If a spot does turn too dark, a clean colourless blender can gently lift some pigment – think of it as an eraser that doesn’t erase the paper.
Choosing a super‑smooth surface for hair work is a mistake many art students in Mumbai make because it feels “clean”. The problem is, you lose the natural grip that lets each layer stay where you put it.
Switch to a textured surface like the tooth side of Canson Mi‑Teintes or a medium‑grain Bristol. The tiny peaks catch the pencil, giving you that subtle grain that mimics real hair. If you only have smooth paper, lightly rub the surface with a fine sandpaper sheet (180‑grit) to create a micro‑tooth – just a whisper, not a full‑on grit.
It’s tempting to blend every transition until it looks seamless. When you do that with the brightest highlights, they disappear into the mid‑tone and the hair loses its sparkle.
Here’s the fix: once you’ve placed a highlight with a freshly sharpened 0.5 mm tip, step back. If the highlight looks too harsh, give it a single, soft pass with a colourless blender – not a full sweep. That lifts just enough pigment to create a gentle glow while preserving the “point of light” that makes the strand pop.
Ever tried to draw a fine hair strand with a dull tip? The result is a blurry, smeared line that looks more like a smudge than a strand.
Keep a mechanical sharpener at hand and sharpen before every new hair zone. If you’re working on a long session, set a timer every 10‑15 minutes to check the point. A crisp tip gives you that needle‑thin precision for those tiny highlight dots that bring the whole drawing to life.
When you finish, many artists spray any old fixative, assuming it will just “lock” the colour. Some sprays contain acids that can yellow wax‑based pencils over time, especially in the humid climates of Delhi or Bangalore.
Choose a pH‑neutral, artist‑grade fixative. A light mist, applied from a distance of about 12 inches, will protect the wax without altering hue. Test on a scrap piece first – you’ll notice the difference instantly.
Ravi, a second‑year art student in Pune, kept ending his portraits with flat‑looking hair. He was using heavy pressure on a smooth sketch pad and never checked his light source. After we showed him the “light‑source sketch” trick and switched to the tooth side of Mi‑Teintes, his hair went from matte to glossy in just one session. He also started sharpening his pencils every five minutes, which cut his highlight errors in half.
Need a visual reminder? This quick tip video walks through each mistake and shows the fix in real time: common hair‑drawing errors explained. Watch, pause, and practice alongside your sketch.
By catching these pitfalls early, you’ll spend less time re‑working and more time enjoying the flow of the strands. Remember, hair drawing is a dance between light and shadow – treat each step with intention, and the results will look as natural as a conversation over chai.
After walking through sketching, layering, shading and blending, you’ve got a clear roadmap for how to draw hair with colored pencils that works for anyone from a Delhi art student to a seasoned portraitist.
Start with a light outline and a quick light‑source check – it saves you from chasing stray highlights later. Use soft‑core wax pencils on textured Canson Mi‑Teintes, applying colour with feather‑light pressure before you build depth.
When you reach the shadow zones, reach for a cooler hue, keep strokes short, and blend just enough to keep a crisp edge. Highlights? A sharp 0.5 mm tip, a tap‑on dot, and a gentle lift with a colourless blender give that natural glint.
Don’t forget to sharpen often and seal the final piece with a pH‑neutral fixative – a habit our students in Mumbai and Bangalore swear by.
Grab your sketchbook tonight, set up a simple lamp, and try the three‑step routine on a quick portrait. You’ll notice the hair start to move on the page, almost like a conversation over chai.
Need more tips or a personalised tool checklist? Our guide library at Drawing Pencils Guru is packed with step‑by‑step resources to keep your practice fresh today.
Start by picking a smooth‑to‑medium textured paper like the tooth side of Canson Mi‑Teintes. Lightly sketch the hair flow with a 2H pencil, focusing on the overall direction rather than individual strands. Keep the outline faint so you can erase or blend later. Once the skeleton feels right, lay a light base colour using feather‑light pressure – this builds a translucent foundation you can deepen later.
Paper is the silent partner in every hair study. A lightly textured surface gives the wax core enough tooth to grip without crushing delicate strokes. We favour the tooth side of Canson Mi‑Teintes because it holds multiple layers and still lets you lift pigment with a colourless blender. If you only have smooth Bristol, add a fine‑grain sandpaper rub or work with a thin layer of fixative to create micro‑tooth.
Keeping a needle‑thin point is essential for those stray strands. A 0.5 mm mechanical sharpener does the heavy lifting, but a classic hand‑sharpener paired with a lengthener gives you control over the angle. Sharpen before you start each new hair zone, and set a timer to check the tip every ten minutes during long sessions. A fresh point lets you place tiny highlights without smudging the surrounding colour.
The key to blending hair is to lift just enough pigment to smooth transitions while preserving the paper’s tooth. Use a clean colourless blender or a soft cotton swab, sweeping in the direction of the hair flow. Start at the darkest edge and move toward the lighter area, pausing to check that the underlying texture is still visible. A light pass keeps the strands lively and prevents a glossy mud‑patch.
Choosing colours starts with the natural value ladder: roots are usually a touch darker, mids sit in the mid‑tone range, and tips lift toward a highlight hue. For black hair, a cool dark gray or ultramarine underpaint works better than pure black; for brown, mix a warm base with a hint of burnt sienna. If you’re working with dyed hair, add a complementary shade in the shadow zones to keep the colour from looking flat.
If you’ve pressed too hard and created a brick‑wall, don’t panic – a colourless blender can lift some of that saturated wax. Gently sweep over the area with a light hand, then re‑apply a softer base tone. Flat highlights can be revived by tapping a fresh 0.5 mm tip of ivory or pale yellow directly onto the strand, then softening with a single blender pass. Always step back and compare to your reference; the eye catches unevenness faster than the hand.
Sealing your finished hair drawing preserves the wax layers and stops accidental smudges. Choose a pH‑neutral, artist‑grade fixative and spray from about 12 inches away in light, even coats. In humid cities like Delhi or Bangalore, let each coat dry for at least two minutes before adding the next – the moisture can otherwise cause the spray to run. One to two coats are enough; too much can dull the subtle colour shifts you worked hard to create.
Ever opened your sketchbox and found a tangled mess of graphite, charcoal, and coloured pencils,…
Ever stared at a blank portrait sheet and felt that familiar tug of doubt, wondering…
Ever stared at a portrait and felt that the lips just don’t have that juicy,…
Ever opened a fresh box of colored pencils and felt that the paper just wasn't…
Ever cracked open a fresh charcoal pencil only to watch the tip crumble the moment…
Ever stood in front of a blank sheet, wondering whether to grab the soft, dusty…