Learn Face Drawing In 8 Minutes With Loomis Method!!

Most people see this and think it's complicated, but the truth is this entire drawing is built from one simple structure. Let me show you how to build it, step by step. Before we draw anything, we need a solid base. So we reduce the head to a simple sphere. This sphere represents the upper part of the head. Like to start with four guide points, top, bottom, left, and right, just to keep the circle nice and even. Now inside the circle, we look for a center point. This sits right between the eyebrows. I mark it with a small cross. From that point, I draw a horizontal line that curves with the sphere. This is the brow line, where the eyebrows sit. Then I add a vertical line. It curves along the top of the sphere and straightens as it comes down. This line divides the face in half, helping us keep everything aligned. Quick reminder, my full Loomis course and the Realistic Drawing course are both available right now with up to 30% off. You can get them by clicking the product right below the video or check the link in the description. If you want real progress, this is where it starts. Now we take that simple head we just built and start dividing it into three equal sections. First, I place a line just below the center. This is the nose line. Then I measure the same distance above and place another line. This is the hairline. Now we've got two equal sections. To complete the structure, I repeat that same distance downward, making sure each line follows the same curvature as the center line. And this final section down here defines the chin area. Now we get to the side plane cut. Where do we place these two side lines? Simple, right at the end of the brow. That point marks the beginning of the side plane of the head. On this side, I place the cut at the end of the brow and connect it up toward the hairline and down toward the nose line. It doesn't have to be exact. This part is flexible. On the other side, since the head is slightly tilted, the side plane appears more visible, almost fully exposed. You can see it running from the end of the brow all the way to the back of the head. It might feel a bit tricky at first, but with practice and by observing different angles, you'll start placing these cuts naturally. Now to finish the outer shape of the face, it's a very simple step. I connect the two side lines down to the chin on both sides. And just like that, we form the jaw line and complete the entire outline of the head. Now I'll clean up the inside of the circle. We don't need it anymore. This area here roughly marks the position of the mouth. Then I place the ear right where we usually do, in the lower quarter of the side plane. This is just a rough placement for now. We'll refine it in the next step. I also reinforce the top shape of the head and erase any extra lines from the original circle. And you'll notice how the outer form of the head becomes clearer as we move forward. Next, I add this guideline starting from the top of the ear, passing through and reaching the chin on both sides. This line helps me define the width of the mouth so it stays balanced. Then I sketch a small circle for the tip of the nose and two larger ovals for the eye sockets on both sides. I mark the position of the mouth. And finally, I add a simple blocky shape for the neck and the lower shoulders. Now we're ready to start placing the features. Let's start with the nose. It's one of the simpler features. We already have a circle that represents the front of the nose, so now I add two smaller circles on each side to define its width, making sure everything stays balanced. From there, I start defining the outer edges, the side of the nose and the nostrils, pressing a bit harder to get a darker, clearer line. Then I add some light shading to suggest the shadow and give the nose more form and depth. Next, I move to the mouth. To keep the spacing accurate, I lightly sketch the connection between the nose and the mouth, just two very soft lines that guide the placement. Then I focus on the line between the lips since it carries a lot of expression. After that, I shape the upper lip, then the lower one, and add a bit of subtle shading between them, just like we did with the nose, to bring out the volume. Once the nose and mouth are in place, I start adding soft shadows around them, under the chin and across the cheeks. I rely on observing light and shadow. Darker areas get some light hatching, while the highlights stay as clean paper. After finishing the lower part of the face, I move down to the neck, add some shading there, and sketch in a bit of clothing and a simple earring. These small details help bring more life into the portrait. Take your time with this process. Don't rush. The calmer you draw, the more control you'll have, and the better your results will look. Now, remember that horizontal line we drew at the beginning? That's the brow line. It helps us place the eyebrows in the correct position. As you can see in this face, one eyebrow sits slightly higher than the other, and that's completely natural. We just follow what we observe. The eyebrow is built from small, individual hairs placed side by side, and to make it look realistic, we vary the pressure. Some strokes are darker, others stay lighter. Also, notice how the ends of the eyebrows taper off. They become thinner and more refined toward both sides. That soft, tapered finish is what gives the eyebrow its natural look. Now I move straight into the hair, and I like to start from the inner hairline along the forehead. It helps me clearly see the distance between the eyebrows and the start of the hair, which is important for capturing the correct roundness of the head. I add some light hatching in the darker areas at the front. On this side, I press a bit more to get slightly deeper shadows, while on the lit side, I keep it very soft, sometimes even leaving it as clean paper. Once the hairline is in place, I move on to the head covering, making sure it follows the same outer curvature of the head. Be careful here. If this shape gets bigger than it should, the entire head will look oversized, and the portrait will feel off. So whether it's hair or any element around the head, always make sure the inner and outer boundaries stay consistent with the structure of the face. Now we move on to the eyes, the most important feature in the portrait, at least in my opinion, because they define the expression and the overall feeling of the face. To keep everything aligned, I draw a horizontal line just below the eyebrows and two vertical lines from the nose to mark where each eye begins. I start with the upper crease, that fold above the eye, and make sure it sits right along that horizontal guideline. The closer you match this crease on both sides, the more balanced and natural the eyes will look. Then I move to the upper eyelid, which usually follows a very similar shape. And after that, I draw the lower eyelid, making sure the spacing between the upper and lower lids stays consistent. This distance controls how open or narrow the eye appears. If it's off, the whole face can feel wrong. Once the eyelids are in place, I add a bit of shading just beneath the eye to give it more depth and presence. Then I move on to the eyelashes. The upper lashes are typically longer and thicker, while the lower ones stay lighter and more subtle. Now for the iris. It tilts slightly upwards since the gaze is directed up. I keep the shape clean, add some shading inside, and place the pupil right in the center. I repeat the same process on the other eye. And for the highlight, I use a white gel pen to get that clean, bright reflection. And just like that, the eyes come to life. If this helped you, let me know in the comments. And don't forget, my full drawing course is currently on discount. Check the link in the description and start building your skills from zero to mastery. See you in the next lesson. Goodbye.