Loomis Method General Approach to the Loomis Head and Reilly Head

all right welcome back this is kevin mccain with idor classes and kevin mccain studios so we're going to talk a little bit about the loomis method for drawing heads um the loomis method you'll see there's a lot of videos out there on youtube uh it's really a great method to uh to work with in terms of dealing with the portrait i like uh the loomis method especially for the three-quarter view uh we're going to go over it we're going to use it for i'm going to show you how to use it for the front view the three-quarter view and the profile but i mostly use it for the three-quarter uh as far as that goes i usually use an egg shape for the front and uh three-quarters loomis and then a lot of times i'll use a modified loomis and a couple of other methods for the the profile but um the way this works is that with lumus you're always using a circle and the cool thing about if you have a circle is that the circle is always the same no matter where it's viewed from so no matter where i have you know if you have a sphere now sphere of course is three-dimensional but it's the same thing we could throw show a sphere three-dimensionally like so two intersecting ellipses to show that it has volume but no matter how you you turn something that's a sphere it's always the same and uh that's the idea that obviously i set a circle but obviously the head is a volume so what we're really talking about is is then a sphere um and again no matter how you turn that sphere you're always left with the the silhouette and we could turn it into a two-dimensional shape which was then would then be the circle so with you have two parts with luminous you have the cranial shape you know that holds the brain mass you know they simplify that into the sphere and then you have uh what some people will will call the shield which is where you come down off of there you know off the circle and this isn't very symmetrical but we'll just use our imagination shall we but though if we've got this you know looks very much you know sort of like a shield coat of arms almost and this is the jaw coming down here to the chin very squared off obviously uh this is coming down from the cheek coming down from the cheek um so again you have this shape which try to make this splayed out little trapezoid shape here but you have this shape married with the the sphere to occur is basically the idea of the luminous method and again it's a really great method because you can use it for all kinds of extreme angles well so what is it well again with loomis we always start with you know a full circle um would have been great if i'd warmed up first before i did this but again we're going to start off with that circle there's enough of a circle here we can you know get this the circle out here um usually i'll warm up doing a few dozen circles before and and egg shapes and things and and lines before i jump into something more formal like this but you get the idea and then if we take this the top and the bottom now if you're going to really start to draw heads especially if you've never drawn them before but if you even if you have drawn them and want to get better you're going to pre you're going to practice just the basic uh head shapes a lot so if you're doing egg shapes and dividing them by using the half half and a half method well then you're going to draw try to draw you know about 100 of them just breaking them down not in one sitting do about you know five or sitting or ten in a sitting and then just keep doing it to you to you you've you've done 100 of them by the time you've done that it'll really get into the gray matter as we say in other words you're really you'll be able to do it instinctively and then you'll have a lot easier time just dividing this in half you have a much easier time when you're drawing when you're using something that you've that you've um basically memorized and then and then it just it comes together much more quickly so with uh whenever we're dealing with uh and you might be saying what is it what are you doing i'm just i'm dividing this uh circle in half vertically and horizontally so this is horizontal half pardon me no it's not the horizontal half that's the vertical half this is the horizontal half let's at least use the right nomenclature but the first things you do for the loomis method is you you need to divide this circle we're going to divide this into six sixths i should really pronounce that uh so we're going to divide this into three and this into three for six pieces in all um so again now i could go ahead and guesstimate this uh if i was really worried about that's a little low if i was really worried about i could use armature of a rectangle for those that don't know know what i'm talking about you can go on to uh onto the youtube channel watch uh you know how to divide things using the diagonals of a rectangle and we could use that to divide this um i think we're just going to go ahead now this is just where you're struggling we're like oh okay this is kind of that's kind of there and that's kind of there and that's okay that's that's not bad so there's my thirds okay so divide it from the halfway point from here to here divide that into three now you take this from the halfway point to there and divide that into three or since i've already done this once i could take this right here and all we need is the same distance from the the top oh just a little bit off there we go that should be pretty close let's go ahead and double check that i'm just using my thumb and the pencil as a measuring tool so i can measure that here i can come over here and measure it up there so this right here and again because we're dividing the half three half up here we divide that into three we divided them in six but what we really need them for i didn't do this one obviously um you know whatever we could just whatever uh so you could divide this into six but the the reason we're doing this is we need this right here and the reason why is that we need of this circle we need an area that is a two-thirds one-third well instead of dividing this whole thing into thirds instead we divide it into six this right here is two-sixths that right there is two sixths this is one-sixth this is one-sixth and so i get two-sixths and four-sixths boy that really sounds like a like a snake doesn't uh and if we went ahead and took that fraction and simplified it we would get that this right here is two-thirds right and then if we added these two together the this one-sixth and that one-sixth that's going to equal one-third so we're going to get a two-thirds and we take this piece and that section and that's one-third that's very important um i need to kind of step back a little bit because the first thing we didn't we didn't do on this is uh the the the way that lumus works is it's it's taking it's it's if you take the cranium the cranium has a flatter side and then a rounder side so the top and bottom are the round sides and the and then it's it's a little bit flatter on on the on the sides and so what they do is it's like you're cutting off a section um so if we slice this off with a you know a knife or something and this piece fell off we would then have you know a piece that we've cut off here of the side this is supposed to be you know the top and then we would cut this one again and so we end up with again a piece over here on the side so you're trying to you're trying to end up with something that's a little flatter there's still a roundness to it but it's much flatter because we've sliced off that section and we sliced off this section and so this section that we're slicing is the two-thirds piece okay so we need that we have the two-thirds um right there um and so now if this was if this was you know facing towards me and i was slicing this and we could get into this if my center if i was centered my center of vision if you want to get into perspective that just means that your eye is kind of right in the middle if we slice to this and we slice this it would remain straight because we couldn't see the volume because of where our eyeballs are if you started to move your eyeball and it's no longer here and now you move a little to your right not getting any closer but you move to the right well then again you start to see a little bit of this side you'd see that that ellipse because now you've moved a little to the side so you can now see again the ellipse on this side so that would be my ellipse here but i still wouldn't see the lips over here it would be around the corner but i would start to see a little bit of the curvature this is the front part of the ellipse we can't see the back of the ellipse the lips would be around the corner invisible like that's what that checkered line means but the idea is that if i'm looking straight on i wouldn't it would be a straight line and that's kind of the same way that if we have perspective and i'm i have a lips above me i can see the ellipse if it's if it's below my eye i can see the ellipse if this ellipse comes down and lines up exactly with my eye it becomes a straight line if you don't understand what i'm talking about it's a perspective thing and it's something you're going to want to learn but we're not going to belabor it right now we're not going to go too much into it but the idea is that anything that touches that that eye line where it lines up exactly with my eyes i can't see the top or bottom of the ellipse it becomes a straight line and so that's kind of what i was doing with that if my eye was right here i wouldn't be able to see this ellipse or this ellipse would just be you know straight lines um but for the most part um so we've got this part we've got the two-thirds one third and what we're going to do now i'm going to do this like it's this is just like the general and again we're going to act like this is this is a three-quarter view so we're going to go ahead and put an ellipse in here and this ellipse again this is the side of the head and so that's where we we've cut off this section here and we've actually cut off both sides but again if i'm if this is three-quarter view i'm seeing the head turned i can see i can see this side where they've cut off the slice but where they cut the slice off over here is around the corner i can't see i'll only see the curvature because the flat side is around that sphere so again we're still talking about perspective and the great thing about the loomis method is it deals with perspective on the head so everything's um you know affected by perspective sometimes we only think of because in perspective a lot of times you'll start with boxes and sometimes people start to think that it's only well a box it's like no a sphere can be put inside the box and touch every corner and so spheres and cones and anything that's three-dimensional is affected by that perspective that sometimes we think of as just you know sometimes just boxes but it's not just boxes it's anything anything that's three-dimensional is being affected by perspective that's an important concept and when we're dealing with three-quarter views and you can even say well it depends on you could do deal with perspective and on in a front view yes you can i just did a front view the other day where the eye was not looking straight eye to eye it was actually the eye of the camera in other words was down and so we had a perspective thing going on that was a you know happening in the face because of where the the perspective of the person viewing the person that we were drawing um again if that's if that's something you're not having a very big issue here trying to get these pencils if that's something you're not used to thinking about or you're not you don't know perspective uh i've got videos on one and two-point perspective a little bit about volumes i go and watch them it's really great uh to help you know get your eye or par yeah it's part about training your eyes to see perspective it's always there whether we see it or not uh whether we perceive it or not and the more that you draw the more that you perceive the more you understand the more you see what's actually happening instead of making visual assumptions which always helps the drawing so with a three-quarter view and we're just going to start with a three-quarter view with the loomis you have this is the first thing we want is the sixth and thirds because this right here is supposed to be two-thirds the the height of this no matter how big it gets like i could have a bigger and bigger and bigger ellipse but that ellipse is always even become a circle but again it's always supposed to stay within side that two-thirds area okay so that's an important part now maybe i need to come back in here because i don't need all that to muddy up but what this is right this is the uh this is the corner of the face so we usually have a front side of the face versus the side and with bridgeman he would actually put the head in the box if this is where your eyes are and the cheekbone this would be the side where your ear was because the face again has a front side it has a left side as a right side as the top side has the bottom side has all that so we're actually going to go ahead and minimize some of this stuff we still we're going to keep these lines because they're important and we'll talk about why so yeah let's get rid of all this fraction stuff so that our brain doesn't start to get too overloaded with information uh so again we've got again this is our this is our halfway line this is our you know this is one third here this is one third there together we have two thirds um we're going to take this little this little this guy over here and we're going to go ahead and cut him in half so this is the next thing we're going to do we're going to cut this ellipse in half okay now the uh the lumis helps us for a couple things it helps us with rotation of the head side to side it helps us with the rotation of the head you know leaning forward or backward and then it also helps us with the head leaning side to side or what people will talk about with the x y and z axis okay and all that means this is these are coordinates and anyone who said trigonometry well you know they will talk a lot about this but it's really just you know the easy way the layman's terms is one represents side to side the other one represents uh you know leaning back back and forth this way and the other one is leaning back and forth this way so um so that's what we're going to be dealing with on this on this um with this lumus so i'm going to grab the skull here real quick real quick a skull that i've got and we can you know it's easier to visualize i'll be right back all right so again with bridgeman this you know he he used the box and the box that way because with the box we can start you can start to tilt things backward and forward and right to left and you know so things like that well this the head does the same thing you can the head can either tilt forward and see more of the head it can tilt up so that we see more underneath the jaw it can rotate right to left and it can rotate this way and that way and so again that's what again the x y and z axis is about and that's what you can do with loomis and that's that's the power of this thing it's basically taking instead of starting with the box like you did with bridgeman it's basically taking the box and it's how do we apply perspective onto the sphere and then that next part which we call the shield which we're going to get to in a minute now across here and again this is the front of the face here and this is the side of the face so if we have a three-quarter view like so this right here is the box this is the corner of one side going this way and another side going that away two different planes okay and so what this little ellipse is is what this indicates is that plane change from right to left that's what this is so this right here is the side of the head the flatter side and this right here is the front and so whenever you're drawing someone you're going to look and a lot of people will use the ear but the thing is sometimes people's ears are a little bit lower so you know you're going to that you you want to be a little aware of what's going on in case there's there's something unusual but because you know usually the angles are not a straight line across there because that would flatten it out they're going to be slightly different so what we're going to do is we're going to look for the the angle change and so this side for instance let's say usually we're a little bit above or below if it was if we if our eye was above it we'd see the top corner of the box if our eye was below the person we would see you know the corner of the box going this way so what we're going to do is we're going to see and this point right here is the point we're going to bring those through uh for the uh for the side so you know when the side is chain if it's up a little bit it's going to go through that point if it's down a little bit it's going to go through that point this is where it's going to pivot um and so a lot of times you know now it's not usually if you're looking right into somebody's eyes it'll be there but it's going to be pretty pretty open pretty splayed out again we're talking about perspective we're talking about angles but we might have just a very slight angle going from this side to that side if we're looking someone straight in the eye but the reason this becomes important is because this right here for those that have done the skull that's our that's our brow line let's actually try to make this legible shall we so this is the brow line put a squeak on there sorry it sounds a little bit like nails on a chalkboard but this is our brow line not the eye line the eye line would be down here this uses the brow this coming from here over and we're going to make sure that it's parallel to this so this or this is coming up just a little bit and we're going to bring it over till it hits you know before these guys change the angles they change that's our edge that's the edge of the box so this over here we're going to come up a little bit like so and then we're going to come down a little bit just like this guy now this might be a little extreme might be a little softer like right through there and then this is coming now okay now this this line right here that's coming that's dropping a little bit too much but this right here is the hairline remember the hairline is the top of the forehead that's supposed to be an r okay so this is the top of the forehead remember the top of the head's further back so the forehead is not the top of the head so it's again a little further back again this is going to be the bottom of the nose and again we're going to make sure this is parallel these should all three of these lines should be parallel so i'm trying my very best to parallel to that original so remember this is up just a tiny bit so this is leaning up a little bit and then this breaks and comes down again it's it's the edge of the box okay this is the nose and again this is why we have to get used to doing this the first time you might do luminous you might be like wait what how was that again because it seems to be all these strange steps but once you you've done 20 to 40 to 60 of these i mean little tiny circles where you're breaking it down using the the idea of loomis it's not that big a deal you can do this in your sleep after you've done 100 again you could pretty much do it in your sleep um it's a really great method once you get your brain wrapped around it but uh so this is the nose where's the chin well we don't have the chin on here because this is the first the top part of the head and this here's the bottom with the chin okay uh and so what we're going to put this on here uh and what we do is this we're using this we break it up into thirds so this should be a third that should be one third let's get a little bit high so that's my one third right there and we're going to take this distance again this is the brow line this is the hairline and we're going to bring that same distance down for the chin okay that's a little longer now sometimes the chin is just a little bit just to scouch longer so i'm gonna leave it right there okay so we have this right here is the chin now before we go any further we're going to go ahead and give ourselves a center line okay all right and this will be our center line now this is uh center line should be in perspective middle because this is in perspective meaning that if i've got this head turned in three quarter i can see more this is the center i can see more distance from here than i can to there because of what's called because of perspective so that means even though this is in the middle this is perspective middle which means there's more of this side and less of this because it's foreshortening because of perspective so again remember that the the the what happens when we first start drawing portraits if we're not doing a front view with the front view it flattens but once we if we turn from a front view we've got perspective until you go all the way into a profile and then it flattens again so you have to be aware of of perspective whenever you're drawing somebody this is our center line but it's pretty perspective middle because we're dealing with perspective if i took this and i i found the middle this this isn't quite a cube this is just a box but if i found the middle of that box by going corner to corner corner to corner and i drew a line i don't know why this is so out of whack these lines are not quite straight so if you saw that you're like wow this guy what's going on there but um that's a little better so if we measure here there it is it's it's more it's it's more distance from there to the middle and from the middle of the back because of foreshortening and i missed the middle a little bit the middle is actually right here but so it's off by you know 32nd of an inch but still you know hopefully you understand that you understand what i'm saying that's perspective middle it's not measured middle if i measure the middle the measured middle would be somewhere you know maybe right about through here but if that's measured middle and perspective that's not the middle that's wrong because the middle moves when we're in perspective because of foreshortening so this to here is the middle and then it four shortens as it goes back to the back corner it's actually for shortening to get to the middle too but because of this you get more from the from the front edge to the middle than from the middle to the back edge front edge middle back edge okay so for the for this now the reason we divide this in half is this is where the jaw again this this is where i divide in half is this ellipse and we put this in there for the ellipse and from here that midpoint this is where we're going to start the jaw and the jaw has two angles it comes down and then the jaw comes over okay and then the jaw is going to we're going to come into the chin okay this is part of that shield and then we're going to come off of this side and you know and we're going to have a little bit of an angle because there's sort of an angle to the face and then if we bring this again we're going to mimic mimic this angle because it's going to be in line these are all in line and parallel so this would follow the same angle as these so this would have to be there once it hits there that's the bottom of the the bottom of the jaw right the jaw is here the jaw is there it has to be these should be parallel to these and this is off just a little bit but not so much that i'm going to lose sleep over that's better so there's there's what the jaw should be so this would come down okay and then this is the left side of the jaw looks like this should have a little bit more volume here and this goes over here to the right side of the jaw right side of the jaw left side of the jaw um and if we wanted to we could bring this down now this i just squared off but actually the the planes of the face if you bring an arc down from this midpoint down to the chin this is actually all the side of the face the face goes through the through you know part of the cheek and then comes down and this so this right here becomes the side of the face the whole right side and then this is you know if we came over here and brought this over and did the same thing here yeah that's where that would come over okay so this right here would be the left side of the face and again because it's a three quarter we're seeing more of the right side unless of the left side because someone's head is turned a little to the to the left so the left is disappearing while the right you know is showing more of it and so this right here is the basic loomis head we'll go ahead and minimize some of this and you would use it you can use this for the skull as well um so this is the basic idea of loomis and the reason loomis works so well and the same thing with riley uh these were methods that you know were been used for a long time you're seeing much more of it thank goodness because of the the internet uh and so there's a lot of people sharing things um that you can come across it very easily but here's the thing for a long time especially because of uh certain ideas that were circulating in the art world among certain movements and you know that the only ones that were doing realistic art was you know less than true artists and all this nonsense uh that a lot of this stuff got sidelined there if there are only a few places you would be taught uh stuff like riley and and loomis and there they have they have a connection um i'm not sure where i haven't done enough research to know uh you know but they certainly have a connection uh and i would be shocked if they if they you know in the same country the art community has always been very niche very close close-knit uh i can't imagine these two were you know their their lives overlapped a little bit so i can't imagine and certainly the students did so i would find it hard to believe that that that loomis didn't hear of riley's technique and then just simplify it for his own for to to suit his own needs uh for what he saw to be approved but this is the basic loomis head now we haven't put the features on it but again this would be the hairline up here uh this is the side of the head again um we have the this is the side of the face and the way that you use this is this is going to be going to be a brow line that you're going to come through here now if you're doing a three-quarter you're going to have see the brow come around and then the cheek come out and you're going to get a little bit of that projection that's going to happen because it's a three-quarter view but this is the brow so the brow comes up around and then up and down like that right so we said this was the brow line now i wanted to show you that the brow uh because we're not talking about the eyebrow the eyebrow actually lays on top of here uh this is actually where the this comes up that's the brow and then we have again it gets we get a little bit more arc through the you know through the uh through where the eyebrows are going to be but hopefully you can see this this little m shape and that's what i'm trying to do here but what i'm trying to do is here this is gonna be uh the the brow and then it's gonna come up for the eyebrows and so people will refer to that as like the eyeglass you know put on the sunglasses you know shape don't forget those sunglasses uh and so we went ahead and put that on there uh and so that's that's what that's supposed supposed to be and this is the the vibe some people will call this the visor for the eyes if you take the halfway point from here to the brown of the nose this right here should be just about around there is about where you have the bottom of the ocular cavity but this right here is what you what we call the you know again that visor where it's going in for the eyes um but so we're gonna you can develop this into a head you'd start with the this is coming through for the brow again it's three-quarters the brow will wrap around here uh and then it's going to start to project for the this actually you know you have a cheek in there um and again you're gonna look at some people it depends on you know what angle you're at uh normally the cheek should be further out than the head than the top of the brow the cheek will project a little further that's the whitest part of the face uh but mine looks like it's it's in a little bit which is a little bizarre uh but we're just gonna leave that because it's just a generic head so we're gonna have the brow and then and then this distance here this is where we have the end of the ocular cavity uh to position the eyes a lot of times we'll just go ahead and go look where's the eye start and the eye that this is the end of that ocular cavity well then the eye is actually in a little bit and so what what a lot of people will do is they'll go ahead and put where the the edge of the eye is and then when you have the three eyes you just need to divide this into three now it is in perspective so there there is that whole thing uh that there is this perspective going on so this should be a little wider this should be a little shorter this should be the shortest of all uh you don't want to go nuts on that i think mine's a little extreme right now but this would be a third now again if we're if we're doing heads we're like wait a minute i thought they're supposed to be equal well they are if they're not in perspective but this is in perspective so we got four shortening so again this will be the longest this will be just a little bit shorter and this will be the shortest of all but you have to make sure you don't go two nuts on that otherwise it'll be like this right here i still think it's just a little bit too much so i'm going to make that a little thicker uh this eye to that eye it's still shorter uh which means this one needs to this middle one needs to be a little bit there needs to be a little bit more to it i think that's a little bit better it's it's still for shortening but it's not it's not crazy out of control like it was before they were just for shorting way too much uh and so this over here we're not gonna get into we're just gonna do a basic symbol for an eye we're not gonna sit here and and go nuts on drawing some sort of but we have you know again this would be this would be our eye over here this is nowhere near it halfway decent eye but we'll just go ahead and say that's an eye here uh it's a symbol that symbolizes an eye uh as far as that goes was a little bit too much of an arc up there but okay we'll just again pretend we'll use our imagination and then again we're gonna have an i over here a lot of times with this you'll actually get the eye will turn back and in on itself as it's going around the corner of the eyeball which is always kind of fun because again now you're drawing eyes in perspective [Music] again this is this is uh [Music] you'll get a little bit of a squeak to these sometimes this is in one of these conte drawing pencils on top of the eye coming here coming around this is going to be the the eyeball this is the the lid like the lid's too far open um and i don't know why but this thing is not that's just way too big of an iris there we go that's a little bit more naturalistic we're not going to get into features today this is just these are just space holders uh for things that are supposed to represent stuff in this case it represents an eye so this is just a this is just a holding uh this is just a symbol it's just to hold the it's a placeholder as you might say uh from here you're gonna have again the nose come out now interesting this is just a generic head uh but one thing about the nose is this is the bottom of the nasal cavity but the nose actually the the septum goes below that a little bit so again we're we we're thinking of the skulls as we draw this but we do have to again be mindful and it also projects so if this is far enough this will actually come in front of this eye over here because this nose is projecting out and so we'll start to cover more and more of that eye and in fact where this is this probably should project out a little bit more but we're not going to i think it'll be close enough for what we're doing but we can go ahead and say all right well this is the wing of the nose uh this is then the underside of the nose this is you know we're gonna have the bridge come down through here like so that's the bridge of the nose you know so this is just very basic symbols this is the far uh [Music] just see a little bit of that that opposite wing of the nose coming down um and again this is not this is now we also haven't changed the center line now the face projects so with this this would now now come around the forehead it would come down here where you would come out you know again up as it projects on the nose it would kick back and then it's gonna there's a projection to the mouth so again we're gonna actually start to get a contour that shows the fact that this has volume we're gonna start to see volume just like if we see a circle with a a longitude line right down the middle and we're in the middle we can't see the fact that it's round because of the way we're positioned to it but as that those longitude lines get further away to the right or left of us we're going to start to see a bending curve we're going to start to see the volume of that sphere the same thing happens with the mouth as it turns the face we really start to see what's called the tooth cylinder the fact that it is round through here and then we pick up a little bit of the chin around the chin the chin seems like we need a little more chin down here but um we would you know you'd get a little bit of that projection so you're gonna have a mouth again you're gonna see a little bit of this projection too uh and so we'd have again just we're going to do just a very simple again a little symbol that symbolizes the mouth but it's not really a mouth it's just a symbol for a mouth this would then be the bottom of the to come back this would project out this would then be the lip the bottom lip so bottom lip and remember we we did the the skull so we did the skull proportions so we did oh there's the brow that's the nose that's the chin well the lips are somewhere in between there now if you know the loom with luminous and you know you cut this in half and this should be halfway well my mouth is actually a little too low because the halfway point should be the bottom of the lip and that's not the ha even if i lowered the chin to here i don't think that's halfway no it's still a little low um but anyways we're i'm not worried a ton about that because this is just a mannequin we're not i'm not worried about the fact that that proportion just got way out of whack and uh looks like i can't draw um but this again we've got you know the the lips are gonna be between the the chin and the and the and and the nose and then we'd have of course you know you're going to have a we're going to have a neck that this head is going to sit on as far as that goes uh this back here back here you're gonna that that middle line behind there's where the ear is so again you'd wanna you know sometimes depending on the perspective the ear might be a little lower than the nose sometimes it's a little bit above the nose it just depends on what's going on and again the the ear is is depending on the perspective can be above the but this is just going to be almost straight on so we're not getting we're not having a ton of perspective but the ear is between the brow line and the nose line is where you're going to have the air on this person and this is a little sharp this would actually curve off here you know it wouldn't be quite so sharp this would curve off there it's going to look a little less you know like it's chiseled you know out of stone or what have you didn't have the you know you'd have your your eyebrow coming along here there about oops along there their bounce and when you see stuff like this this really looks mannequin-like i'm not trying to make it look less like a mannequin right now i'm not really worried about that but sometimes i was certainly one of these i um people that question a lot what the heck and so i'd see something like this that really does look stylized i mean this doesn't even look like a person i'd be like how are you gonna get a person on that that just looks so so clumsy and uh and and yet if you use it it's and i've got again some videos where i show using it where we use the concepts of this and then apply it to a real person uh and all of a sudden like oh that's where the power is is getting these basic um these basic proportions happening on the face and so forth and so on uh if this is the ear well then you know let's say this person has short hair uh they're you're gonna have a little bit of depending on how how much side burn they've got there but you're going to start to have again two little scoops here for the you know for for the hairline you know so again the hair is going to grow out from the skull so forth and so on so you know whatever maybe this person has whatever maybe they have a slight a slight buzz cut or something crew cut or whatever they call it these days but a very short haircut you know so this would be in the hair standing up but you know as it's as it's cut shorn fairly close to the head um this is again the basic the basic riley head uh so again this is the nose line brow line chin line hairline top of the head and above the head grows out the is where the hair grows from and of course we have this coming down to the neck whoops and then this would be just cylindrical really as far as this goes and again this looks very very very stylized but we're going to actually do some drawings but if you don't know what how to use how this luminous method works then it's going to seem kind of strange so this is the very basic loomis head

Channel: KevinMcCainStudios

Views: 363,358

Keywords: how to draw, draw using Loomis, Loomis Method, Loomis Head, Loomis Approach, Loomis Portrait Method, drawing the head, How to Draw Loomis Head

Id: BkLLWbS3TQ4

Length: 45min 43sec (2743 seconds)

Published: Sat May 16 2020