Mastering Facial Drawing with the LOOMIS METHOD in Just 6 Minutes!!

What if I told you you can draw this face from this tricky angle with just one pencil? Stay with me. I'll show you every step. Let's go. Yeah, we start with a circle. But at this angle, it'll look weird. Don't worry. Stick with me. From this angle, it's actually pretty simple. We drop the circle right on top of the head, hitting the highest point. Then we let it wrap across the forehead on the left and curve around the back on the right. Those three spots are all you really need. And the bottom? Don't even think about it yet. Once the top part is right, the lower half falls into place on its own. And just like that, our circle is locked in for this angle. Next, we need the center point, that tiny spot between the eyebrows. From this angle, it lines up right around here. Next up is the horizontal line, the brow line. It cuts straight through the eyebrows and lines up all the way with the top of the ear. Now the vertical line, it splits the face from the brows through the mouth down to the chin, following the curve of the head from the top. Now let's add the side plane, the piece that gives our circle real volume. We start it right from the end of the visible eyebrow, then curve it into a soft oval shape. Its length should be about two thirds of the circle. The lower point lines up with the nose, and the upper point sits near the hairline. I know a lot of these steps can feel confusing. The side plane, the horizontal lines, the verticals, it's a lot at first. That's why I really recommend checking out the full course I put together for you. It's 30% off right now for a limited time. Just tap the course image on your screen or use the link in the description. It'll take you from absolute beginner to fully mastering the Loomis method. Now, just like we always do, we drop in the horizontal lines. The top one is the hairline, the next one is the nose line, and the bottom one gives us the chin. Now we close the Loomis structure. On the left, we connect the circle to the chin line, and on the right, we drop a vertical line inside the side plane and link it down to finish the jaw. Then we add this small guideline. It runs from the inner side plane to the jaw, and it helps us place the mouth correctly. After that, we erase all the extra construction lines we don't need anymore. The ear sits right here in the outer quarter. Then we add a simple neck shape, two soft ovals for the eye sockets, a small circle for the nose, and finally, the width of the mouth. Now the whole structure is ready. Stay with me and don't skip ahead so you can get a clean, accurate final drawing. Let's keep going. All right, let's jump into the nose. I start by adding a second small circle on the side, that little bump you see on the right. It's slightly smaller than the main front circle, and it helps define the 3D shape. Then I darken the tip of the nose, keeping the exact same curves. That part is crucial. If you change the curve even a little, the whole nose shape falls apart. And yeah, it might turn into a potato real quick. Next, I drop in a simple nostril and a soft line along the side of the nose. Keep it light. Heavy lines make the nose look flat. And to finish, just a tiny bit of shading on the bridge makes the whole thing pop. And there you go. Clean, simple, and done. The nose is finished. Now let's drop down to the mouth. To get the lips right, we first draw that little area connecting the nose to the mouth. You see that tiny bump? A simple line and a few light strokes are enough. Then I focus carefully on the line between the lips. This line decides the whole expression, so don't mess it up. Next, I shape the lower lip with the right curve. Then the upper lip, keeping the same natural flow. A bit of shading inside and some tiny curves to show the lips are rounded. And boom, it starts looking real. Finally, I spread a little shading around the mouth above and below, just to settle it into the face. Simple. Easy. Like drawing lips on autopilot. Now I add a few light hatching strokes on the cheeks and under the chin. Nothing heavy. Just simple, clean lines to show where the light hits and where the shadows fall. These small strokes make the face pop and give it that nice sense of depth. Now I add a small hint of the clothing. Just a few simple lines to show the shoulder and the upper part of the blouse. Nothing detailed. Just enough to anchor the lower part of the drawing and keep the composition balanced. Now I sketch the earring. A simple square shape with a hollow center. I add small circular details around the edges to give it that decorative look. Then a few light strokes inside to suggest the shadows. Keep it simple. We just want a clear shape that sits nicely on the ear without overworking it. Now I rough in the eyebrow with light, simple strokes. I keep it soft at the start and slightly thicker toward the end, following the natural angle. Don't press too hard. Gentle lines are enough to set the shape without making it look heavy. Now I move on to the hair. I start by lightly blocking in the big outer shape. Just the main silhouette so I know where the hair sits on the head. Then I refine the inner outline, following the direction of the bangs and the flow of the strands. Next, I erase any extra construction lines to clean the area and begin laying down the main locks. Those long, clear strokes that define the hairstyle. I keep them bold and simple without drawing every tiny hair. After that, I add a few smaller strokes inside the big shapes to bring texture and movement and finish with some soft shading to show depth and volume. That's it. Clean structure, clear flow, and the hair starts coming to life. And finally, let's draw the eyes. First, I set a horizontal guideline that tilts with the same angle as the eyebrows. On this line, I draw the crease above the eyelid. Remember, there's always a darker fold above the upper lid. I keep both eyes sitting firmly on that line, making sure they share the same curve. Next, I drop down to draw the upper eyelid itself. Usually, it follows the same curve as the crease above. Think of it like copy-paste. Then, I add the tear duct on the right eye and finish with the lower eyelid. This closes the shape and makes the eye look real. Now, I place the iris in the correct spot, slightly to the right since the gaze is toward the right side. A bit of shading inside, plus a highlight with a white gel pen, and the eye immediately comes to life. And that brings us to the end of this lesson. If you want to master the Loomis method from zero to all angles, don't miss the full course. It's 30% off for a limited time. Grab it while the offer's still up. Don't forget to drop a like, and I'll see you in the next lesson, my friends.