You’re staring at a perfectly drawn face, but the hair looks like a solid block of plastic. We’ve all been there. Learning how do you draw bangs is usually the moment an artist realizes that hair isn’t a single shape, but a collection of shadows and physics. If you draw every single strand, it looks messy. If you draw one big clump, it looks fake.
Getting it right is a balancing act.
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Honestly, the biggest mistake people make is starting at the forehead. That's a trap. Bangs don't just "exist" on the face; they originate from a specific growth point on the skull. If you ignore the scalp, the hair will always look like it’s sliding off the character’s head.
The Gravity Problem and the Apex Point
Before you even touch your pencil to the fringe, you have to find the "Apex." This is the highest point of the head. For most hairstyles, bangs originate from a triangular section that starts at this apex and widens toward the temples.
Think about it this way. Hair has weight. It’s light, sure, but gravity still wins. If you’re wondering how do you draw bangs that actually look three-dimensional, you have to imagine them wrapping around the sphere of the skull. They aren't flat stickers. They are ribbons of protein falling over a curved bone.
I’ve seen beginners draw bangs as straight vertical lines. Please, stop doing that. Unless your character just stepped out of a 1920s salon with a fresh bob and a gallon of hairspray, hair curves. It follows the roundness of the forehead. It should have a slight "C" curve. Even "straight" bangs have a tiny bit of volume where they lift off the skin.
Why "The M Shape" Is Your Best Friend
If you're doing anime or stylized illustration, you’ve likely heard of the "M" or "W" shape. It sounds simple, but the execution is where people trip up. You don't want a perfect, symmetrical M. That looks like a logo, not hair.
Instead, vary the widths.
- Start with a large central clump.
- Add a thinner, sharper clump next to it.
- Leave a small gap where the forehead peeks through.
This "peek-a-boo" effect is vital. Real skin shows through hair. If you fill the entire forehead with a solid curtain of ink, you lose the depth of the face. By breaking up the bangs into irregular clumps—what some artists call "ribboning"—you create a sense of realism even in a cartoon style.
Take a look at the work of professional character designers like Loish (Alexandra享有). She uses massive, flowing shapes but breaks the edges with tiny, flyaway hairs. It's that contrast between the "big shape" and the "small detail" that makes it work.
Different Styles, Different Rules
Not all bangs are created equal. You can't draw blunt bangs the same way you draw curtain bangs.
The Blunt Cut
These are the most dangerous because they easily turn into a "helmet." To fix this, don't draw a straight line across. Draw a slightly jagged edge. Use "V" shaped cutouts at the bottom. This simulates the way a stylist uses shears to point-cut the ends so they aren't a harsh block.
Curtain Bangs (The 70s Look)
These are everywhere right now. To draw these, you need to emphasize the "swoop." They start at a center part and curve away from the eyes, usually hitting the cheekbones. The key here is the "S" curve. The hair goes up slightly at the root, then down, then flicks out at the ends.
Wispy or See-Through Bangs
Popularized by East Asian street fashion and Manhwa styles, these are the hardest to master. You're basically drawing "negative space." Use very thin lines and focus on the gaps between the hair. If you draw ten strands, make seven of them almost invisible and three of them more defined.
Lighting Is The "Cheat Code"
You can have a mediocre line drawing, but if your highlights are on point, the bangs will look professional. Most people put a white streak right across the middle. Boring.
Instead, place your highlights where the hair curves the most. If the bangs are curving over the brow, the light will hit the "peak" of that curve. Use a "hatching" technique for highlights—don't just draw a solid white circle. Draw tiny, jagged lines that follow the direction of the hair growth.
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Shadows matter even more. The bangs should cast a shadow on the forehead. This is the #1 way to make them look like they are sitting on the head rather than being part of the skin. If the light is coming from above, there should be a soft, dark blur right under the tips of the bangs.
Common Pitfalls to Avoid
I used to draw hair like it was made of hay. Individual, scratchy lines everywhere. It looked terrible.
- Don't draw every hair. Focus on shapes first, then add detail only at the "ends" and the "roots."
- Watch the "tangents." Don't let the tips of the bangs perfectly touch the eyebrows or the eyelashes. It creates a weird visual tension. Either make them clearly shorter or clearly longer.
- The "Floating" Problem. If your bangs look like they’re hovering six inches off the face, your "Apex" point is too far back. Move it closer to the hairline.
Actionable Steps for Your Next Sketch
Stop reading and actually grab a pencil. Or a stylus. Whatever.
First, draw a basic head shape. Don't worry about the face yet. Mark the hairline—it's usually about a third of the way down the face. Now, find that Apex point at the top of the skull.
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Draw three "ribbons" falling from that point. Make one wide, one medium, and one thin. Curve them slightly so they wrap around the forehead.
Once you have those shapes, take an eraser and "chip away" at the bottom edges. Make them uneven. Add one or two "rogue" hairs that cross over the main clumps. This creates "clutter," and in art, controlled clutter equals realism.
Next time you're out or scrolling through social media, look at people's foreheads. Sounds creepy, I know. But notice how their hair actually splits. Look at how the wind catches the lighter strands. Copy those natural "mistakes" into your drawings. That’s how you move from "drawing hair" to "creating a character."
The final step is to experiment with line weight. Use a thicker line for the outer silhouette of the bangs and a much thinner, lighter line for the internal strands. This trick alone will give your art more depth than an hour of shading ever could. Keep your wrist loose and let the lines taper off at the ends. Physics is your guide; gravity is your boss.