Transcripts
1. Introduction: We are now going to see how the proportion works
with the pace. And for that, we will
use the Loomis method, and this method
is really helpful for creating a phase with
the right proportions. So this method I'm going to share with you is
really useful when you want to imagine a pace
or draw a pace from memory or draw someone
phase from life. So at first, we'll begin by
observing the human skull and then analyzing
three different heads um, you know, with
the Loomis method to understand how the volume and the structure is done with the head and how the
different proportions. And then we will put that
into practice and try to apply ourselves the
omis method. So let's
2. Understanding the Loomis Method and Facial Proportions: Let's begin our analysis
of the proportions, and to do so, I suggest starting with a front
view of a skull. We will try to analyze the different elements
that make up the skull in order to represent it as simply as possible on our
drawing sheet. So let's start by studying
it from the front. So when studying
the human skull, we can observe that
the upper part could be represented by a large circle that encompasses a significant
portion of the skull. Therefore, to start the drawing, we could start drawing
with this circle. Then if we look closely, if we look at the
skull in more detail, we can notice that the sides of the skull
are not circular. Instead, they appear more straight as if the circle
were slightly cut off. If I remove the circle, we can clearly see
that the sides actually have rab
a straight edges. So to begin, we could construct
a face by working with a circle and two
relatively straight lines to represent the
sides of the skull. And finally, the remaining
lower part could be enclosed within a trapezoid which will complete the
overall structure. Now that we have seen
how to represent the outlines of our skull
using simple shapes, let's go back to
the previous model like this one and try to establish relationships between the different
elements of the face. These relationships will help us achieve the most accurate
drawing possible. These proportions are emphasized
by the Loomis Method. I'm not inventing anything here, but you will see that
they are quite obvious. So let's start by placing this line that divides
our circle in half, which corresponds to
the eyebrow line. And we could also add a vertical line which would
clearly show that it divides the face into two with a left side and the right side that are symmetrical
to each other. So it's also interesting to see that when we
look at the skull, it is truly symmetrical on
both the right and left side. Here, I have adjusted
these lines to ensure they remain well
aligned with the leves, and we can see that
the orange line is equal to the pink line. This means we have
the same distance and the same length for
these two elements, which will be important
for what comes next. Now you can see that I have
added two lines to the skull. We have the upper line
which corresponds to the air line and the lower
line to the nose line. These two lines are equidistant
from our eyebrow line, the central line
we added earlier. In fact, if we were to
divide this pink line into three parts and do the
same with the orange line, each of these lines
will be positioned approximately at two
thirds of the way, leaving only one third
up to the ellipse area. And this is quite interesting to understand because it
makes it easier to position the airline and the eyebrow area
and the nose area. We know that the
distances between these elements are
roughly similar. Of course, this technique is
not perfect and will need to be adjusted depending
on each individual phase. It requires observation. However, simply knowing that the distance from the
eyebrows to the nose and from the eyebrows to the airline
is approximately the same can be very helpful
in drawing or portrayed. Finally, another
interesting element we could add is a
line for the chin, and the spacing between each of these blue lines
will be the same. This could serve as yet another
helpful reference point for drawing or portrait. Although in this
particular model, the distance to the chin
is slightly larger, it still provides
a useful guideline for constructing a well
proportioned portrait. Now, I suggest we move on to observing the
skull in profile. So now let's look at
the skull in profile. So we could have a
large circle that would encompass most of
the skull area. And then with this yellow
line that you can see, we will have the chain in the same manner that what
we have for the front face. Next, we have this green
circle that I drew. And actually, what we notice with this green
area is that well, it corresponds to two
thirds of the surface. And so we will have
at the ends of the circles or airline. Then in the middle, we will have the eyebrow line
and at the bottom of the circle, the nose line. Then we could find
our chin line. And once again, we
can clearly see that the spacing between each of
these elements is the same, meaning there are
identical proportions that make it easier to
draw the facing profile. Finally, another
element that I added. So we have this yellow
vertical line and the slightly curved
red line that extends from the intersection of this yellow line
and this blue line, which is located in the
middle of the green circle. And this red line here, well, which would connect to the chin when we see
it on someone's face, and this will be
more relevant later. Well, it will be
the line that helps define the jaw and the
areas around the jaw. So this line will be very useful when drawing
someone in profile. Now let's move on to the free
quarter view of the head while keeping in mind the green circle we
clearly see in profile. When the head was in profile, this circle was fully
visible in its entirety. However, as soon as the head shifts to a free quarter view, the circle no longer
maintains its original shape, it flattens and transform
into an ellipse, as we can see here
with this model. And this transformation
will become even more evident with the tool
I am about to show you. This tool is a three D
model of the Loomis head, highlighting all
the key elements we previously observed
on the skull. It allows us to examine the structure from
every possible angle, providing a deeper understanding of its shape and proportion. It's an excellent tool
that helps us visualize the different lines and
the reference circle from multiple perspective. Here we see it in profile, but we can also analyze
it from the front, free quarter view from
above or from below. One thing that stands
out is that as we rotate the head to
a free quarter view, whereever to the
right or the left, the circle we initially identify gradually shrinks and takes
on an elliptical shape. Working with this model is particularly
insightful because it helps us grasp the
head structure and accurately
reproduce it on paper. And once we have
understood this, as we will practice
drawing it from all possible angles to
reinforce our understanding. And as we can see, whether
we view the head from below, above or from any
other perspective, our reference circle adapts and transform according
to the angle. Now, let's see how everything
we have learned from this model and the skull study applies to a real human head. Here is the model we
are going to study. As we have seen, the
head can be enclosed within a large circle that
colors most of the face. However, as we also
observed with the skull, the sides of the head
are relatively straight. Therefore, we could use
these green lines to define and emphasize those
sides edges more clearly. Next, we have this blue line that divides the
circle in health, which can be associated
with the eyebrow, the eyebrow area, just
as we saw earlier. Similarly, another line position higher defines the airline, while a lower line runs through
the middle of the nose. We can also observe that the distance
from the eyebrows to the airline is the same as the distance from the
eyebrows to the nose. This corresponds to two furs, as we had precisely
seen with the skeleton. Then we have the chin line. However, in this case, we notice that this man
has a slightly wider chin, which slightly alters
the proportion. The gap between the chin and the nose is not
exactly the same as the one between the eyebrows and the nose or between the
eyebrows and the hairline. Here, the gap is larger. Another interesting element, which we hadn't
observed until now, but we can clearly see here with the real model is the presence
of these two yellow lines, the eyeline and the mouth line. Once again, we will use
the rule of thirds. If we divide the space between the eyebrows and the nose
into three equal parts, the eyeline falls at one
third of the distance, and the same applies
to the mouth, which is positioned
at one third of the distance between
the nose and the chin. And this provides another
valuable reference point for precisely restructuring
the face in our drawing. Good. Finally, another
helpful guideline is to note that in most cases, if we draw a vertical line
from the edge of the nostril, it will align with the
corner of the eye. This principle is a great aid in correctly positioning
facial features. Of course, this rule
isn't absolute and can vary slightly from
person to person, but it remains an
excellent reference point. If the eyes appear
too far apart in relation to the nostrils and this alignment
doesn't match, it might indicate a
proportional issue. Similarly, we can draw a novel line starting
from the iris, which would roughly align with
the corners of the mouth. Again, this reference
point help us properly structure the face and
avoid placement errors. And finally, here's a summary
of everything we have covered so far with
the photo of this man. You may notice that I haven't drawn the
shape of the chin, but that was the most
straightforward part. Naturally, when drawing people, we won't always find a model
where every feature aligns perfectly according
to the Loomis head proportions with elements, for instance, positioned
exactly at two thirds. Every individual has
unique proportions, and these guidelines should be adapted to the
real life subject. However, they serve as a solid foundation
on which we can rely before adjusting
details based on the specific characteristic
of the face in front of us. Now let's compare
this model with the Loomis head and examine
the differences between them. If we compare this man
to the Loomis head, we can see that it generally aligns quite well with
the model's guideline. I randomly chose this
man from the Internet, yet we can still observe that the structure of his skull fits fairly well within
the base circle with relatively straight side. The eyebrow line roughly
matches the one in the lumis head as do the
airline and the chain line. However, a noticeable difference appears at the
level of the nose. In this man's case, the nose line does not align perfectly with the Loomis
model's nose line. As a result, the distance
between his nose and chin is greater compared to the proportions
in the Loomis. Despite this variation, using the Loomis Method to draw this portrait would have
been a great advantage. It serves as a valuable tool to structure the face and
provides a strong foundation upon which adjustments
can be made to match the specific proportions of
the subject being drawn. Before moving on to
the drawing practice, I invite you to take a
quick look at two models, one in profile view and the other in the
free quarter view. Here is our model
in profile view. Once again, we could enclose
most of the head within a large circle with an
additional area for the chin. Inside this main circle, another smaller circle
could represent approximately two thirds
of the total surface. From the circle, we could
draw three guiding lines, the hair line, the eyebrow
line, and the nose line, maintaining a relatively
even spacing between them, even though the spacing between the eyebrow and the nose
may be a little bit bigger. Next, we could add
the chin line, and with all these elements, we can see that the elements
are quite proportionate and quite balanced and more than what we observed
with the male model, resulting in a more balanced
structure for these women. The spacing between
all these blue lines is relatively the same. Finally, we can identify
the eye and mouth lines, position at one third
of the distance from either the nose line or the eyebrow line just
as we saw before. To refine the structure further, I have added a final
red line which we previously discussed
with the skull study, serving as a useful guide for properly shaping the draw
line in our drawing. And so that's it
for a female model. Now let's see another last one with the three
quarter view model. And finally, here is a
free quarter view model. As we can see, the
skull, just like before, could be enclosed within
this large purple circle. However, for the green circle, this time, we don't
have a perfect circle. We have an ellipse, which better represents the slightly
flattened side of the skull. We notice that the vertical
line remains straight, but the horizontal line
is now tilted diagonally, unlike what we observed
in previous view. Another interesting detail which we hadn't mentioned
earlier is that the ear is generally positioned in the lower
left or right corner, depending on the
person's orientation. Additionally, blue
construction lines are no longer
perfectly straight. Instead, they follow
a curvature that aligns with the rounded
shape and tilt of the face. I must admit, since I am
not a photoshop expert, making these curved lines perfectly smooth
was a bit tricky, but the main concept is
still clearly illustrated. And we can see that
the spacing between these different blue lines
is pretty more balanced, and we can see that the
spacing is almost the same, and it could be the same also
if we added the chin line. And also the same would apply. We could follow the
same rules that what we see before with
the line of the eyes and the line of the
mouth being placed at approximately one
third of the distance. And so this conclude
our analysis. I know this was a
lot of information, but I believe it was essential
to go through all of it to fully understand
the Loomis Method. Now we are going to put into practice by working with
three different models, one front view,
one profile view, and one free quarter view. And after that, we'll move on to another exercise
that will help us further refine our understanding and mastery of this approach.
3. Drawing a Front View with the Loomis Method: Now let's move on to the practical part
and see how to draw a face from the front using the Loomis method and all the reference
points we have studied. The three portraits
we'll be creating are entirely imaginary with
no specific reference. The goal here is not to produce a highly
realistic rendering, but rather to fully grasp and internalize the method's
fundamental principle. So I encourage you
to draw along with me as we go through
these three models. This way, you will
be able to absorb the method in a more
hands on manner. With continued practice, you will eventually
be able to create a character from your
imagination or draw a real person while using
this approach as a guide. So let's put this method into practice with a
front view portrait. And so here is Lomi's
head seen from the front. Alright, now let's put the
Loomis method into practice and see how to draw a front
view head using this method. To do this, I will start by drawing a circle
with a diameter, a diameter of 18 centimeters. That means the radius
will be 9 centimeters. I will use my bruler to draw this line so I can
be more precise. And then I will use my
compass to draw the circle. So next, I draw a vertical line that should be perpendicular. Ideally, I should use
a set square for this, but we won't be that strict. Geometric tools help me
achieve better precision. And since I am using a method
that is almost scientific, I might as well go all the way and make use
of all this tool. So we are working with
a circle that has a diameter of 18 centimeters. I chose 18 because it
is a multiple of three, and in the Loomis method, we often divide into thirds. Using this multiple of three
will make things easier. So now I am drawing my circle with this 18
centimeters diameter. Next, as I mentioned, we are going to use first.
We'll divide by three. So here, my height
is 9 centimeters. And every 3 centimeters, I will mark reference 0.3
centimeters at the top, and then I'll do the
same at the bottom. Now I'm going to draw a line through the highest
point right here, and I'll do the same
at the lowest point. These lines that I have now these horizontal lines are
spaced 6 centimeters apart. At the top, I have the hairline. Right here. This
is the hairline. In the middle, I have
the eyebrow line, and below that, I
have the nose line. Now we are missing one
more line the chin line. To place it, I will extend
the vertical guideline. We have seen that
each section we marked measures 6 centimeters. To follow the Loomis rule, I will add another
6 centimeters, and from there, I will draw this new horizontal line which will correspond
to the chin line. At this stage, we are
being very precise. So I have exactly 6 centimeters
between each element. However, this is
just a prototype. Not all heads are this
perfectly proportioned, but working this way gives
us a solid foundation that we can later adapt to
the model we are drawing. And by doing this, we'll be
able to carefully observe the differences in the real
life model we want to depict. Now, as we saw in our
previous analysis, a front view head
isn't perfectly round. The signs are more straight. So what I can do is draw
a vertical line from the hairline down to the nose line like this to
define the size of the nose. From there, I can start shaping the chin using fairly
straight lines for now. The chin on both sides will
be roughly the same length, and then I can connect
it to the noseline. And this will create
a very stereotypal square and rigid chin
rigid chin, sorry. In real life, of course, we adjust it to match the
person's actual chin shape. Now still using thirds
following the rule of three, I can draw additional lines. This section here
will be divided once again into thirds,
creating three zones. Since I have 6 centimeters
and 6/3 equals two, I can mark small points like
these as reference guides. Even though I will only use
the topmost line for now, the mark help with placement. The line I am drawing
here will be the I line, while the one below it will
serve as the mouth line. Thanks to these guidelines, I will be able to position
the eyes more easily. From there, I will
continue shaping the face and we later place
the different features. Moving upward, we roughly
reach the ear area. Once again, the shape of the face varies from
person to person, and the thickness of the temple won't be the same for everyone. At around eyebrow level, we also find the approximate
starting points of the ear. So I can place them here. These hairs won't
be highly detailed, nor will any of the
other features because the goal here isn't to
focus on how to draw them. That's something we
cover in other videos. Here we are just
sketching a quick draft. From this point, I can
outline the airline. Generally, hair around the forehead curves
inward slightly, following the natural
hair growth pattern. The upper hairline is
rarely completely straight. It also depends on whether the person has a receding
hairline or not. Now I have a rough
outline of the face, and we can start placing the different
features inside it. Now I can start placing the different
features of the face, beginning with the eyebrows. I position them on either
side of this vertical line, keeping them at roughly
equal distance from this vertical line since the face is generally
symmetrical. The left side is usually
similar to the right. Next, I will draw the nose, and I am doing this before the eyes because as
you will see later, the nose will serve
as a reference point for positioning the eyes. I'll sketch a quick nose
using geometric shapes, similar to what we
covered in Ocurse video. These lines help
define the nose in three dimensions even
without shading. Starting from the nostril, I can draw a vertical
line that will serve as a guide for
drawing the eyes. Generally, the I begins
around this vertical line, making it a useful
reference point. I say generally
because once again, this needs to be adapted to the specific person being drawn. However, this proportion
is very common. And even if the eye doesn't
start exactly at this point, it is usually quite close, making it a good guideline for correctly positioning
the different eyes. So I draw the eyes. You will notice that my
eyes aren't perfect. They're not exactly
at the same height. However, what I could
have done is draw a horizontal guideline
from the top of one eye to ensure
that both are aligned. That would have helped
maintain their symmetry. Another useful
proportional relationship for the eyes is dividing
them into thirds. Once again, the roots of third. The iris is roughly
the same width as the white of the eye on the left and the white of the
eye on the right. This guideline can be very helpful in achieving
accurate proportions. Starting from the iris, there's another useful
relationship that can help us position
elements precisely. If we imagine a vertical
line extending from the center of the iris
down to the lip line, it would mark the outer
edges of the lips. This serves as a great reference for drawing the
mouth accurately. Knowing this, I can
now shape the lips entering their length is
approximately correct. Of course, this must be adjusted
depending on the person, but it's a valuable guideline for drawing lips with precision. As I was saying, we can
add this line to properly position the eyes
and ensure they are aligned in a logical way. So I am adding it, which also helps me slightly
correct the right eye, as it wasn't exactly
at the right height. Another interesting element
to include is the jaw line. Starting from this
eye level line, I will trace the jaws shape to achieve a more
realistic result. We know that cheeks
aren't just smooth. There's usually a small
hollow in this area, so I will draw it in to
make it look more natural. And finally, my
character has hair, so I'm going to give
them a quirky hairstyle. And now all the key elements
of the drawing are in place. Finally, another useful
element for drawing to ensure proper proportions
is to think of the face as if it could be
represented with five eyes. For example, here I have the
space of one eye between the two eyes and then approximately another
eye's width on each side. This can serve as another
helpful reference to accurately draw the face, and that's it for the
front view of the face.
4. Drawing a Side Profile with the Loomis Method: Now let's move on to practicing the profile
view of the head. So here's a quick reminder of what the Loomis head
looks like from the side. As you can see on the screen, we can clearly see
the main circle, which represents about two
thirds of the head surface. We also have from the
middle of this circle, the eyebrow line, the headline, and we could add the
nose line as well as the chin line to further
structure the face. So let's go and let's get started to draw this
profile portrait. Now for the profile
view of the head, I have redrawn a circle with
an 18 centimeters diameter. Next, I'm going to draw
another circle that will take up two
thirds of this one. This is the section
we refer to as the cut off side where
the ear is located. So since I have 9
centimeters on each side, I will measure every 3
centimeters as usual and draw another circle that passes through the highest
reference marks. From here, as you might guess, I will start drawing the different guidelines
for the eyebrows, nose, hair, and chin, just like I did the last time. So right here, we have a
guideline for the nose, and if I extend it downward, I can add 6 centimeters on the lower section
to mark the chin line. Then on the upper part, I will have the eyebrow line, and I can also add the airline
of SD airline at the top. So here are my
different elements. On the side, I can
draw this line, which will be very useful for constructing the other features. Now the question
is, where to start? One thing I can do right
away is place the ear. When looking at the
head in profile, the ear is usually located in this lower right
section of the circle. Is size varies from
person to person, but generally we can represent it here in a fairly simple way. From there, I can continue my work and start
defining the jaw line. At first, it will be relatively straight before angling
down toward the chin. The size and shape of
the jaw line again, vary from person to person, but I would say that
once I reach this point, I can start descending from the large circle
toward the chin area. I mean, once I reach
this big circle, I can start descending
towards the chin. Now I can draw the chin. Here, I have to admit I
make the chin quite large, so I will adjust it a bit. As with every feature, we can adapt it depending on
the person we want to draw. To place the mouth,
remember what we discussed with the
front view portrait. We can divide this
area into thirds and draw a guideline about
2 centimeters lower. This line will help position
the mouth correctly and I will do the same for the eyeline drawing it as well. Next, I will quickly
sketch the mouth. From a profile view, it's not particularly complex. Just like with the
rest of the elements, when you have to draw
them from the side, it's pretty much easier. So to represent them, I can quite easily use two
elongated triangles like this, and after that, we'll move
upward toward the nose area. Now I am going to
move on to the nose. The nose starts approximately at the height of this
line for the upper part. In a profile view, we can see that at the level
of the eyebrows, there is a fairly straight
line which I have drawn. Now I can represent the
nose using simple shapes before refining it to resemble
its actual structure. From a profile view,
one side of the nose is clearly visible while
the other is hidden. So drawing the nose is
fairly straightforward. From the nose, I can now
connect it to the mouth using a slightly curved line to
refine the filtrum a bit. Then we can move on to
shaping the forehead. So the forehead can
be more or less rounded or straight depending
on the person being drawn. Here, as well, I can sketch and refine the hairline once I
have drawn the forehead. You will notice that at the
beginning of the forehead, there's often a slight bum, as there is a certain
inclination from the nose before transitioning fully into the forehead when
viewed from the side. From there, I can work
on the side burns and finalize the hair contour
extending it along the circle. Once the outer contour of
the character is complete, we can then focus on detailing the internal features
of this person. At the level of
the eyebrow line, I can now draw the eyebrow. One interesting relationship to note is that the eyebrow is often positioned
at approximately the same height as the ear. The two are almost align, which can be a useful reference
for placing it correctly. Then on the guideline
I previously drew, I can start working on the I. In a proflo the I is
often represented as a triangle using these two lines and I can then draw the iris. Once again, this isn't about
creating a masterpiece, but rather about
clearly illustrating these different elements
and how to construct them. In the end, this makes drawing
a portrait quite simple, especially when using
the Loomis Method.
5. Drawing a Three-Quarter View with the Loomis Method: Finally, here is our Loomis
head in a free quarter view. This time, instead of
a circle on the side, we have an ellipse which better represents the perspective
of this angle. We can also see that the lines for the eyebrows, hairline, and nose follow a slight curve rather than being
perfectly straight. Additionally, the
central line within the ellipse is no longer
completely horizontal, but has a slight tilt
adapting to the perspective. Let's get started and we'll now complete this final
portrait together. Now we are going to work on the human head seen from
a free quarter view, the last angle we
have yet to study. As with the previous angles, we will use the
same 18 base circle to represent the head and draw the same
construction lines. However, in this perspective, part of the side of the
skull becomes visible. When we worked on the
profile portrait, one side of the skull
was also visible, but here it will
be less visible. As a result, the
circle we previously drew for the profile
view will be different. Instead of a circle, we
will have an ellipse, and that is what
I'm going to draw in this area between
these two lines. Beforehand, if we want, we can pretend to
trace it slightly. We can draw this element. And once we feel ready, we can go ahead and draw it. Now I have an
ellipse positioning these two areas between
these two lines. Next, at this point, I can start drawing the lines
along the ellipse. However, since the
head is tilted and no longer upright
or in profile, my lines will no longer
be perfectly straight. Instead, they will have
a certain inclination that depends on the
position of the head. As a result, the ovalines those that correspond
to the eyebrows, hair lines, et cetera, will
also have a slight curve. So here, for example, you can see that I
can draw a line in this area and it will
follow a certain curve. And the same will apply
with the ovlines below. Since they are parallel, they will also follow the same
curvature in these areas. Three, Since my line is tilted, the line that divides the face in two will also be affected. It will follow a certain
curve rather than being straight as it was in a
front facing portrait. You can see that it
follows a curve like this and becomes straight
around the eyebrow line. Then following the same
logic of the rule of thirds, I can place my chin line, which will be equidistant
from the nose line and the distance between the
eyebrow and the nose line, et cetera, and all those lines
that we have drawn so far. I still following
this rule of forts, I can place the line for the eyes as well as the
line for the mouth. Now we can start
working on a face. I try to draw all I will try to draw a fairly correct one
using this Loomis head. So I will begin with the
contour and sketch the chin. As before, the
chin can be drawn, starting from roughly the
bottom of the circle, and we can refine it from here. Then I would have my
jaw line on the side, the side of the face, which will connect to
the eyebrow line. Of course, depending
on the person, the face won't be perfectly
straight like this. There will be
different elements, variations in forms, et cetera. But for now, this serves
as a good reference. Next, I can draw
this inner line that curves inside the face
representing the jaw. Essentially, it extends from the center of the ellipse
to the chain point. This helps define
the slight hollow some people have in the jaw
area and most people have. And just like with
the profile view, I can place the ear in the lower right
section of my ellipse. And what's funny
about Loomis head, especially when viewed
from the three quarters, somewhat resembles
hin man's helmet, but before all the
details are drawn. But anyway, well,
I'll continue now, as you can see, the, the ear
is correctly positioned. At the top, I can
place the airline, which will follow a certain
curve similar to the one we previously defined
thanks to our line. Then the hair will take shape following this curvature at
the center of the circle. The vertical line I initially trace serves as a clear
boundary for the hair. Next comes the forehead, which may be more or less rounded depending
on the individual, and I can refine it
along my guideline. Then we reach the eyebrow area. When a face is viewed from a three quarter angle like this, the features won't be
equally visible everywhere. In this case, the
eyebrow that is farther away will be
the least visible. In contrast, the other eyebrow
will be fully visible, and this is simply due
to the perspective, which makes one appear more
prominent than the other. From my eyebrow, I can
continue by drawing the nose. We can use these two
guiding lights that descend to help us reach
the bridge of the nose, which is well defined
straight structure. From there, we can refine
the shape of the nose. Typically, we see
only one side of the nose when we see something
from a free quarter view. But this depends on the
observer's viewpoint. In general, when a person is viewed from a
three quarter angle, we primarily see one side of the nose and
its full nostril. Occasionally, the other
nostril may also be visible, but again, this depends
on the exact perspective. When drawing the eye in
a free quarter view, sometimes when imagining
someone's portrait and trying to create
one from scratch, we might wonder how to position it correctly
in this perspective. And this is where the tool
introduced you in the course can be really useful for
accurately placing the eye. In this case, since the
eyebrow is the most visible, we will see it
entirely right here. The other eye, however, will appear smaller, even though both eyes are the same
size in real life. The perspective will create a slight foreshortening effect. So it's important to be mindful of that when drawing the eye. Now that I have finished
drawing the eyes, I can slightly refine the
contours of the face. As I mentioned earlier, the chees won't be
completely straight. In general, there's
a slight bump where the cheek
bones are located, followed by a slightly
rounded chin. The forehead also won't
be perfectly straight, so I have adjusted
those details a little. Further mouth, I can draw it
along this guid line again. However, just like with the eye, one side will appear slightly foreshortened due
to perspective, which affects how we perceive
the face at this angle. As for the lips, I can
refine them, though, I have to admit that I ended
up drawing very big leaps, which I only realize
as worldwide editing. Finally, I can add
a simple air style just as I did for
the other drawings, and with that, this
sketch will be complete.
6. Practice Exercises to Master the Loomis Method: We are about to start a particularly interesting
exercise in this video, where we will see
how to work with the Loomis head from all angles. On my paper, I have drawn
these different circles. The central circle
that you can see right here represents the
head viewed from the front. Next, we have a
free quarter view and here a profile view. And on the other side, it's the same
thing, but my road. So essentially, we have
already worked along this entire horizontal line
with the previous videos. What's going to be
interesting now is working on all
the other angles. Specifically, the circles above represent the head looking up while the ones below show
the head looking down, and these are new
angles to explore. Additionally, we have
the circles on the side. Here, the head is looking up but also slightly
to the left. And on the opposite side, it's the same but mirrored. Similarly, the lower
circles represent the head looking down and
slightly to the left. And this is great
because it allows us to practice drawing the Loomis head from various perspective. In the end, we
realize that we don't actually need to learn a
huge number of angles. What we do on one side can simply be mirrored
on the other. So what will be really
interesting is working on the upward and downward view
that we haven't done yet, as well as the
tilted views where the head is looking upward
down, but also shifted. I'm going to start by
drawing the first line, but I'll skip ahead since we've already done
this together. Once that's done, we'll
continue from there. And by the way, the
premade paper is available for you to print so
you don't have to redraw all these
circles manually. By the way, to help draw these heads from
different angles, I will be using the clay
mannequin, we created together. Alternatively, you can also use a free D model available
online, which is really great. I've shared a link to it
in the video description. Now, let's get
started. Let's start with the person
looking downward. When someone looks down, it means that the top of the skull will be
much more visible, and as a result, the eyebrow
line will also be lower. Before anything else, I did draw the ellipses
on the side, although they are barely visible, I could
have skipped them. As I mentioned, the eyebrow
line will be lowered, and the skull will
be less visible. Well, the skull will
be more visible. Sorry. Logically, the rest of the facial features will
also be position lower. The nose will be lower
and closer to the chin. With this perspective,
when a person is looking downward
the distance between the nose and the chin
becomes reduced and the distance between the nose
and the eyebrow as well. And it makes the two features
almost merge together. Now, if the person tilts
their head even further down, looking much more
toward the ground, eyebrow area is lowered even
more just like the nose, which now almost completely
merges with the chin. The space between these
features is further compressed. Again, this is a
perspective effect that makes these elements appear
almost tucked together. In this case, the person's face is truly directed downward. Now that we have covered
the downward gaze, let's move on to looking upward, and I invite you to think
about how this might work. In this case, logically, the effect is the opposite. The eyebrow line will be
higher, and once again, I can quickly
sketch the ellipses on the side though they
are barely visible. So my eyebrow line
will appear higher, as well as my nose line, which also seem elevated. In the end, the chin
line will merge with the line used to draw my circle
as it will appear higher. When looking up, all
the facial features will seem to shift upward. Now if the head is tilted
even further back, and this makes me laugh because as I speak
into the microphone, I instinctively mimic the
movement of looking up. But anyway, when looking for, all the features will
be pushed even higher. The chin will also be
significantly higher, and in the end, it's as if we are seeing the
underside of the head. At this point, the eyebor area might almost blend
with the hairline. You let's look at the case where the
head is turned to the side while also
tilted upward. This is similar to
the free quarter view that we drew before, but with the gaze
directed upward. In this case, the ellipse
will be positioned slightly higher than this one. Previously, when we
drew the head for a standout free quarter view, it was placed at the
center of the circle. But since the head
is looking up, the ellipse will also
be positioned higher. And as we saw earlier, all the main facial lines, the eyebrows, nose, airline
will appear higher. So I will follow this logic
and place them accordingly. The chin will also
be slightly higher compared to a face that is
looking straight ahead. And additionally, I can
refine the other lines, such as the inner
jaw line right here. And also the line that divides the face
in two will follow a certain curve that I'm
going to trace right now. Now with this final example
focusing on elevated heads, my ellipse will be
positioned even higher. And this horizontal line
will tilt even more upward. And as a result, just like
before, my eyebrow line, noseline and chin line will all be placed
slightly higher. Here you can see
that my nosline is positioned higher as well
as my chin line will be. And this will also allows us to see a slight portion
underneath the chin. Now, let's move on to
faces that are tilted, but this time pointing downward. As a result, everything will be the opposite of what we
have done just before. The ellipse will tilt downward, and all the facial features
will appear much lower. This time we won't really see the underside of
the chain at all. Instead, the skull will
stand out much more. In this first example, the head is slightly tilted
to the side and downward. In the next one, the effect
will be even more pronounced. The ellipse will be
positioned extremely low and will tilt
even more downward. The lines, this
orizontal line, well, the line that is supposed
to be horizontal when you look straight ahead will
tilt even more downward. And you will see
a little bit more the skull than before,
and these elements. The different elements
of the face will seem to be closer together
and also be lower. The process will be exactly
the same for the oversight, so I will skip this
part of the video. However, all the elements and faces will still
appear on screen so that you can follow
along and use the model as a
reference if needed. That concludes our module on proportion in facial drawing. I hope this exercise has
been useful for you. Most importantly, make
sure to practice it again. The more you practice
it, the more naturally, the more natural it will become. Don't hesitate to repeat this exercise as
many times as needed until you can draw
the Loomis head from different
angles effortlessly. So thank you for
watching. I'll see you next time with another one.
7. Sculpting a Simple Head in Clay to Understand Form: Here is a block of hair dry clay that we will use to create our mis head and have a sort of model to work with on the
proportion and angles. Now I'm going to
take my block of clay in my hands, manipulate it, and work it until I get a fairly even sphere with a
truly round shape. I'll keep rolling
and shaping it in my hands until it looks
like a real sphere. And this is hair dry clay, as I mentioned, and it works really well for this purpose. If you prefer, you
can also do the same with children's modeling clay, which also gives great results. I'm going to show
you what I have done also with this
in a few seconds. However, this hair dry
clay is easier to handle. So I'm going to continue shaping it until I get a
perfectly round ball. Now I have a fairly
round sphere. It won't be a perfect sphere, but that's not a problem. It will do just fine.
Now, using a knife, I'm going to cut a small
slice of the side. I initially cut a piece that
was a little bit too small, like right here, it is
a little bit too small, so I'm going to take off a
slightly larger section, and this will give us a flat
surface and create an laibe similar to what we see when the head is viewed
from the side. Next, we'll do the same on the overside to ensure that
both sides are identical. Then I will slightly reshape
the clay to refine its form, giving it a more structured
and rounded appearance. If it's not perfect
rounded, perfectly smooth, it's okay we are not
in a pottery class, and I have to admit I don't
know much about skelting. The goal is just to give it a
slightly more rounded look. Now I am going to
take my sphere and we imagine that this represents a head viewed from the front. So we are looking
at the front of it. Now using my knife, I will carve a line
right in the middle. This line represent the eyebrow
line, the line of sight. Next, I can extend this line
onto the side of the sphere. So just right here, and from there,
right at the center, I will draw a
perpendicular line, a straight line forming
right angle at this point. And there we have it the
central guideline for the face, and I do the same
thing on the overside. From here, I can
add an novel line starting from the bottom of
the perpendicular line that we made and connecting it to the other perpendicular line. This will create the
guideline for the face, which corresponds
to the nose line. Next, I can also draw
the vertical line that divides the face in
half just like this. I could have had a third line for the upper part
of the airline. I have to admit I
didn't think of it in the moment
when I recorded it. But having the lines
for the eyebrows and the nose already seemed like
the most essential part. Now I can position this
head in any direction. For example, I can put it on the free quarter view
or on the side view. Like this and this way, I will know how to
draw the face and how the head will
look from the side. I can also imagine different
angles asking myself, well, if I tilt the head this way
and look at it from below, where will the eyebrow
line and nose line be? The same goes for
a top down view. So this will be a great
tool to help us understand how to position the
different facial guidelines depending on the angle.
Tristan, Teacher and Artist
