Draw Like a PRO with LOOMIS METHOD in Just 8 Minutes

You ever try drawing someone mid-breakdown, like full-on heartbreak and tears? Well, today we're doing just that. And yeah, it's Zendaya. Let's go. This, my friends, is not just a circle. It's the skull, the structure, the blueprint of greatness. Okay, I might be a little dramatic. But seriously, just start with a circle. Next step, that vertical line, right through the center call. It splits the face in half. And trust me, you're gonna need it. For the nose, the lips, the chin, basically everything important. Now this next line, usually it goes right through the middle of the circle. That's our brow line. But here, we're dropping it just a bit lower. Why? Because Zendaya is giving us that emotional, heavy eyebrow look. And we gotta match the mood. All right, now I'm adding a line up here. That's for the hairline. And yeah, it's closer than usual. Zendaya's got a pretty small forehead. And with that sad expression, it looks even smaller. Then we place another line down here. This one marks the bottom of the nose. Usually it hugs the bottom of the circle. And that's what we're going with. All right, now just copy that same distance down. And boom, that's the chin. Time to slice off the sides. Yep, like we're trimming a weird haircut. Just line it up with the edge of the brows. And boom, no more basketball head. All right, now just connect the jaw down to the chin. Nice and easy, no geometry degree needed. And for the ears, they go right here in this comfy little pocket on the side of the circle. Think of it like parking spots for earrings. Now we throw in a couple light lines for the neck. Nothing fancy. Then we sketch in the features, just rough shapes. Circles for the eyes, a soft oval for the nose, and a gentle curve for the mouth. You've seen this before. Same classic Loomis structure we always use, because it works. All right, let's build this nose, piece by piece. First we drop in a simple circle, right where the nose tip goes. Then we add two smaller circles on the sides. Yeah, it kind of looks like Mickey Mouse right now, but hang in there. Next, we sketch a soft line across the bottom. This helps place the nostrils. Then we connect the top of the circles to the brow area with two angled lines. That's your nose bridge. From here, we carve out the nostrils and define the shape. Don't worry about making it perfect yet. We're still sketching. Now, once we've got the nostrils in, it's time for a bit of shading. We block in the shadow areas to separate the darker parts from the light. Just enough to give it some depth. Nothing too dramatic yet. And that's it. A basic nose structure that actually works. Let's break down the mouth. Super simple. First, I start with a light oval. That gives me the overall shape. Then I drop in another smaller oval on top. That's the upper lip. One more for the lower lip underneath. Next, I draw the line between the lips. This one's important. It shows the expression, so make sure to match that little curve. Then I sketch the top lip following that line. And finally, the bottom one. Soft and curved. After that, I block in a few shadows around the corners and under the bottom lip. Just enough to give it some form. A little shading goes a long way. And that's it. The mouth is done. All right, let's finish up the lower half of the face. We start with some light shading on the cheeks. Just enough to hint at the roundness and depth. Then we drop a bit of shadow under the lower lip and on the chin. This helps anchor the mouth and gives it weight. Moving down, we shade the neck. Always follow the direction of the muscles. That adds realism without overworking it. Now we sketch in the shirt or whatever she's wearing. Don't overthink it. Just follow the neckline and let it sit naturally on the shoulders. And before we wrap up this half, don't forget the ears. A little bit of shadow goes a long way there. That's it. The bottom half is locked in and ready. All right, time for the eyebrows. And this part really matters. The emotion is living right here in the brows and forehead. I start with the right brow using short, light strokes. Kind of like little scratches from dark to light. I'm following the line we said earlier because that tilt gives us the sad expression. Then I match the left brow. Same curve, same energy. Once both are in, I darken them just a bit to lock in the mood. Now let's talk forehead. I add a few soft wrinkles. Just enough to suggest tension. You don't wanna overdo it or she'll look 85. That's it. Subtle moves, big emotions. All right, let's talk hair. This part can get tricky, but if you take it step by step, you'll be fine. We start from the hairline. Remember that line we placed earlier above the brow? That's our launch pad. From there, I block in the shape of the forehead, making sure not to make it too big or too small. That one line decides a lot. Then I sketch the outer contour of the hair, just the general shape. You wanna balance it with the head shape so it doesn't look like a helmet or a balloon. Once the silhouette is in, I start building the flow of the hair using big, simple lines. Think of them like rivers. They guide the eye. After that, I layer in more strands, curves, and messy flyaways. Don't stress about perfection. Some chaos actually makes hair look real. Oh, and always follow the direction the hair grows. If it's curly or wavy, exaggerate those arcs just a bit. A few well-placed lines can do more than hours of over-detailing. Less is more, but smart is best. Now, this part is serious. We're drawing the eyes. And not just any eyes. These carry emotion, mood, and all the story. First thing I do, I lay down a straight horizontal guideline right under the brow. This helps me place the upper crease, that subtle fold above the eyelid. I draw that crease first because it sets the tone for the whole eye. Both creases follow that same line so everything stays in harmony. Then I move on to the upper eyelid. I'm being super careful here. We just gots to curve it and make sure it matches the real reference. But because in this drawing, the expression depends on getting that shape right. Next, I mark the inner tear ducts. Just small detail, but it locks the placement of the eyes and adds realism. Then comes the lower eyelid. Soft and curved. No hard lines. It should feel like it's resting, not carved in. Now, before I do anything else, I shade the whites of the eyes. Good sup lookin'. Just around the corners. Why? Because eyes aren't pure white. There's always shadow. Good sup curvin'. Especially around the edges. That makes the eyeball feel 3D. I also drop a bit of shadow right under the eye. Good sup. Not too much. Just enough to make it pop from the face. This adds weight, a little fatigue, and emotion. Especially in a sad expression like this. Now for the iris. Good sup lookin' at good sup. I place the circle carefully, tilted just slightly to the right. That tilt is everything. Good sup lookin'. It gives us that exact emotional direction. Good sup. Not just a blank stare, but something felt. I darken the iris by pressing the pencil down. Good sup lookin' good sup. Keeping the shape clear, but rich in tone. Then, the most fun part, the highlight. Good sup lookin'. I use a white gel pen to place a single, clean, light spot. Good sup lookin'. That dot brings the eye to life. It's like flipping the on switch. Once that's in, I go back and refine shadows under the lower lid and around the eye socket. This is where the eye gets depth. Not just the pupil, but the whole structure around it. And here's a tip. Don't rush the eyes. You can spend half your drawing time here, and it'll be worth it. Because if the eyes don't speak, the whole face stays quiet. If you made it this far, you're a real one. That means you're serious about learning, and I respect that. Now, go post your drawing in the channel forum. I'd love to see it. And don't forget to like, share, and drop a comment if you've got questions. See you in the next one, artist. Next slash.