Intuitive Portrait Sketching with the Loomis Method – Part 3
Hey guys, Stan Prokopenko here.
This is part three of a three-part series on the Loomis method.
If you missed the first two, links are in the description.
In the other two videos, I showed you the basics of the Loomis
method and then how to adapt it to any head shape. But once you get
comfortable with the Loomis method, you don’t have to follow you know each
line step-by-step, you can apply it to your drawing intuitively. It’s kind
of like after you learn anatomy, you don’t add every bone and
muscle to your figure drawings, you let them knowledge inform your
decisions throughout the drawing. So most of the time I don’t follow the
step-by-step formula that I showed you earlier, I think about the basic
forms, but I’m not literal with each line. As I draw the shapes that are more
specific to the person, I imagine the Loomis head, and it’s
kind of a combination of what I know and my observation of the subject.
And I’ll scatter parts of the simple forms throughout. For example,
I didn’t start with a circle cut off the sides and add the jaw. Instead I
started with the overall shape of the head. Then I found only a part of
the side plane at the forehead, where it’s most obvious. And then
I started observing more specific angles along the outer edge, and
I started applying a few of those, you know the curves from the brow to the
top of ear, and from the bottom of the nose to the bottom of the ear. You know,
all the same lines, just not in really the same order, just in an order that
made sense as I was drawing it, as I’m measuring things,
as they make sense to me. I’m thinking of the Loomis head
concept and I’m applying it. And I’m just being more specific to his
likeness and the shapes I’m seeing on his head. And I’m just kind of letting
the Loomis head inform what is happening under the surface. And I’m going to
start putting some features on, because like you know I’m being
specific to what I’m actually seeing. So, sometimes the side of the head or side
of the face here, like the contour here is the nose, it’s not the cheekbone.
So I’m seeing the tip of the nose all the way up here kind of by the top of the
bridge. Just because we are looking up at him so much that the tip of the nose
is…you know, we’re seeing so much of this bottom plane, that the tip of
the nose is all the way up here. Very counterintuitive, you know,
if you’re not careful and you don’t observe, you might just draw it
kind of like, you know more of a neutral pose where the tip of the nose is
closer to the bottom of the nose. But really this line here that goes to the
side of the…sorry, the bottom of the ear, that’s the base of the nose, that’s
where it connects to the face. And then I like to kind of create a bottom
plane shape, and then from there figure out the eye socket, a negative shape
from the nose, something like that. And I’m still comparing angles. All right,
this is a parallel to this, to this. And I’ve got to remind myself this is a
quick sketch, I’m not doing a lay-in of his head. I mean,
I guess I kind of I am. It’s just a quicker lay-in. Okay, I feel like that’s probably good for the lay-in. Not a lay-in,
probably good enough for this quicksketch. If I go any further I’m just
going to start adding details that really don’t…that are kind of outside this
concept, of the concept of this video just of Loomis heads. There you go. In this next one, I’m going to approach it again in more of an intuitive way.
But I’m going to do a back pose. I don’t think I’ve ever really shown you
guys how the Loomis head applies from the back. So let’s start this. Okay,
angle, very general angle from forehead to chin. I’m seeing the jaw kind
of going like this. There’s a curve like that, but that’s just the skin being
pinched because she is bringing her chin in towards her neck. Once
you have the Loomis head, you know more as a kind of an intuitive
approach, you’ll start to be able to imagine what things are like. Even
though I don’t see most of the angles of her face, I can kind of imagine what
they are. Like there’s not that many options of what could be happening back
there. So I have the neck connecting to the base of the skull. I guess
I’m going to try to ignore the hair for now kind of,
I mean it’s tight on her head, so it’s not that far off. But, all
the hair right here I’m just going ignore that and draw the back of her
skull, the neck attaches. A center line along the neck helps.
And then the ear attaches… what, like somewhere like right there?
It’s very close to the edge. It’s kind of like this very awkward angle
for the ear too, you don’t usually see it like this. So the side plane is like right here.
And she’s bringing her chin in, which means there’s kind of a down tilt. So, if I were to see through the neck,
I would see that the other side of the jaw like somewhere in here, connects to the
chin. We’ve got the bottom plane of the jaw like right there,
but I don’t see all that, that’s covered by the neck. This will
all be parallel to this angle that I drew. Very important to keep track of
all your parallels, especially the horizontal parallels. That keeps
everything on your…on the face aligned. You know,
if the eyes are going this way, the nose is this way,
and then lips are back this way again, and then the chin is this way,
you can feel the distortion. I mean obviously everything here is a
horizontal, everything going along from eye to eye, nostril to nostril,
lip to lip, unless you’ve got an expression you know, you could
raise your eyebrow higher, but the skull underneath still stays parallel.
Your eyebrows might go up, but you still have that structure
of the brow ridge that is parallel, so that kind of stuff. You still
need to keep those parallels tracked correctly. So brow ridge.
We don’t really see the nose, but it would be here, back here
as I wrap this line around. But we do see that little rhythm
from the top of the ear, connecting to the cheekbone. I feel like I need to bring the neck
out more closer to the chin. I’m not capturing that inward angle.
And then that means this …that I made the next too wide, so I have to bring this in.
There you go. These are quick sketches, we can make these quick adjustments. And a few gestural strokes for the hair.
I’m just trying to create some kind of nice design in there, track the shapes,
and I’m trying to do it quickly. All right, good enough for this,
it’s a back view. If I were to really go further with this, I would just try to
make my hair attractive, like this whole drawing would be about the
hair. And I didn’t really give too much attention to the hair. So, it’s
kind of an ugly sketch, but hey, the Loomis head underneath is kind of
working. Let’s see, let’s do a few more, and I’m just going to…I want to show you
guys a little bit more about you know placing features on the Loomis head.
So last one. We’ve got Lucy Liu, great structure, especially on the
cheekbones. Pretty much kind of an average…you know to got those
average thirds going on there, a lot of I think the proportional
tricks that we follow will align here. So I’m going to start with that circle,
I’m following the process, just to keep this well structured. Typically on a female,
on a kind of an average female, the difference in the jaw from a male is
the angles here. On a male you’ll have more squared-off angles,
so it’ll come down, kind of straight down and then over. On a female,
it’ll start going forward much quicker and then just kind of you know average,
you’re just thinking general male, general female. And I do see that on her
as well, from the ear she got a very strong forward angle. You can
still have a sharp corner here as it goes to more of that bottom plane,
but the angle goes forward from the ear. I want to just get this average Loomis
head kind of placed in so that I could start showing you guys the features.
I’m just going do a little bit, just because this isn’t a features lesson.
I feel like her cheekbones are so important because they’re so large and
defined that I need to place them before I put all the other features in.
Because when I put the other features in I’m going to be judging everything
based off what’s there, and if I judge things in this area around,
you know, base it off of this line, I’m going to be off quite a bit,
like if I start putting the nose in here. That’s why it’s important to do big shapes
first, then go to details, because you’re going to base your
details off of the big shapes you have on there already, or any shapes
that you have on there already. And if you don’t have the big
shapes figured out correctly, your detail will be wrong, usually. Okay, for the brow ridge we have this line
kind of as an equator around the sphere, but the eyebrows don’t follow that,
there’s more of an arc this way, and then back down on the sides.
And then from there we get in kind of the side of the nose. From this point right
here, that’s where the nose connects, right on the center line.
That’s where I look for where the edges of the nostrils will be.
And then the tip of the nose isn’t going to be right in the middle,
it depends on the angle. If she’s…well, she is facing this way,
and so the tip of the nose is going to be all the way over here. I’m probably not going to get that great
of a likeness just because I usually need to spend like a longer time measuring
things out and like really figuring out all the shapes. Some people
can get a likeness immediately. But, in a quick sketch I kind of
just…hopefully it looks like a woman. So, from the nostrils as you go up,
that’s generally where the tear ducts are going to be. And then her eyes are angled. The lips don’t fall on
the straight line here for the center line. The tooth
cylinder kind of protrudes out from it, and the lips protrude out
from it. But from the center line, I usually kind of extend a curve to the
top of the chin, and then the chin also comes out from that. So
that’s kind of a more accurate center line. In fact, most of the
places along the center of the face don’t actually line up with the
center line, you know, the center of the nose is actually here, it comes out,
and then right here it aligns again. Then the brow ridge is actually there and
then it kind of does this sort of thing for the center line. So the center
line goes you know over all the features, but it’s good to
think for this you know the lips, just this cylinder kind of puck shape.
And from there I like to find an angle from the nostril to the corner of the
lips. From here it’s almost straight down. The bottom of the bottom lip is about
halfway. I’m seeing this as almost a straight, horizontal line.
And then remember the middle is right there, so that’s where I’m going to
put that little V shape of the top of the lip. That’s pretty much all the feature
information. I’m just going to add the hair and then we’re all done. Cool, so I think that’s good enough
resemblance to call this one decent. If you still have any questions,
let me know in the comments. And check back for more 12 Days
of Proko: Quicksketch Edition. I got a lot more good stuff coming.
I’ll see you tomorrow.