Master FACE DRAWING in 8 Minutes with LOOMIS METHOD!!

So, I was just minding my own business, scrolling through Pinterest like any normal artist at 2 a.m. And then, bam, I saw her. I don't know who she is, but something about this face just screamed, draw me right now. So, I did. Let's use this face to break down the Loomis Method. Step by step, no stress. Since it's a front view, this circle goes from the top of the head down to the bottom of the upper jaw. Not the hairline, not the nose. Just think skull top to jaw end. That's your head height. Simple as that. I drop a vertical line. It's not centered in the circle. It's slightly to the left because the head's tilted that way. We follow the center of the face, not the circle. This is the brow line, from the eyebrows to the top of the ears. It's not dead center here because the camera's looking slightly from below. So, the line drops a bit lower in the circle. Now, I divide the rest of the face into three equal parts. First line at the hairline, second at the bottom of the nose, and the third at the chin. These three spaces, hairline to brow, brow to nose, nose to chin, should be roughly equal. That's your classic Loomis proportion. Next, we slice off two side sections from the ball, one on each side. These cuts usually start around the end of the eyebrows. Since we're drawing a front view, they're symmetrical and pretty narrow. This changes when the head turns, but we'll get into that in future videos. Now, I erase the inside of the ball. We don't need it anymore. Then, I connect both sides of the face to the chin mark we made earlier. Try to match the overall shape, but don't stress about getting it perfect. We'll tweak and refine it later during the shading. This isn't the final line. It's just the structure. These two lines from the ears down to the chin, they're not just for the jaw. They also tell us how wide the mouth should be. A lot of artists skip this, but it makes placing the lips way easier later on. Now, I lightly block in the features, eyes, nose, mouth, just the basic shapes. I sketch the eye sockets, drop in the nose circle, and place the corners of the mouth along those jaw lines. This isn't about details yet, just making sure everything's in the right spot. All right, time to give this face a nose because breathing is kinda important. First, I add two small circles next to the big one we drew earlier. These are the nostrils, or as I like to call them, the sidekicks of the nose. Then, I sketch the little curves where the circles meet. That's where the nostrils form. Add some shading underneath to give it depth, and boom, it's starting to look like a real nose. We'll connect it to the bridge later, but for now, this gets the job done. All right, time for the mouth. I always start with the line between the lips. It shows the curve of the expression, whether it's a smile, neutral, or a pout. Super important. Then, I add the upper or lower lip, whichever feels easier. There's no rule, just flow with it. And don't outline too hard. Lips look weird when they're too defined. Keep it soft. Finally, I throw in some gentle shading just to show the light and shadow. And that's it, we've got lips. All right, let's give this sketch a little life. I'm not going full shading mode here, just a few soft touches to show where the light hits and where it doesn't. Around the mouth, under the lips, the chin area, and some hints of shadow under the neck and collarbones. That's it, nothing fancy. Same pencil, just a lighter hand, like you're whispering with graphite. Let's add some eyebrows, because right now this poor face is giving a surprised mannequin. I start with the right one. Make sure the space between the brows isn't too tight or too far apart. Use the brow line we drew earlier as your guide. That's what it's there for. I draw using the pencil tip with short, sharp strokes. Think of it like flicks, not lines. Start from the darkest part, usually the inner edge, and fade it out as you go to the tail. The end should always feel lighter and thinner, never blocky. Okay, deep breath. We're tackling the hair. And listen, this part can feel intimidating, but it doesn't have to be. I always start with that front lock, the little swoop over the forehead. It looks simple, but it's doing a lot, breaking the symmetry, cutting into the brow line, and adding character. So make sure you place it right. Once that's down, I trace the full hairline around the forehead. That's your anchor, the point where the face ends and the hair begins. Get this right, and the whole structure of the head just makes more sense. Now I move on to the outer silhouette, the shape of the hair as a whole. Big tip here, don't hug the skull too tight. Hair has volume, give it space to breathe. Don't be afraid to exaggerate a bit, especially around the sides and crown. Then I start adding the major clumps. I think of them like ribbons or waves flowing around the skull. It's not about drawing hair, it's about sculpting light and shadow. Where does the hair overlap? Where does it curve under? Where does it block the light? That's where you add your shadows. Don't just darken everything randomly. And hey, if you mess it up, that's normal. I redraw the same lock three or four times sometimes. Nobody gets it right from the first try, and nobody needs to. As I go, I start switching to a softer pencil, darkening the deeper areas, especially where the hair meets the face or where it folds inward. Don't outline every strand. Suggest the texture. Let the viewer's eye do the rest. If it helps, squint a little at your reference. Forget about the tiny hairs and look for big shapes, direction, contrast. This part takes time, but if you stick with it, it's also where the portrait comes to life. Hair is the frame of the face, and when it clicks, everything else just works better. All right, it's time for the eyes. This is the part that makes everything come alive or fall apart. No pressure. I start with the crease above each eye, that soft fold right under the brow. It helps to find the expression, so I make sure both sides match in length and angle. Next comes the upper lid. Smooth curve, slightly thicker at the outer corner. Then the lower lid. Keep it lighter and softer. Bottom lid should feel delicate, not outlined. Pay attention to the spacing. There should be roughly one eye width between the eyes. Too close? They look intense. Too far? They look lost. I add a bit of shading under the lower lids to give the eyes some depth. Helps them sit naturally on the face instead of floating. Now for the iris, that round shape inside the eye. This needs to be placed just right. Even a tiny shift can change the whole gaze, and suddenly your calm portrait is staring into space. I drop in the pupil next. Clean, solid, and centered. And of course, the little highlight. That tiny white spot adds life instantly. You can use a gel pen or just leave the area unshaded. For lashes, I don't draw spikes. I flick out strokes from the lash line, short, varied, with a natural flow. Start at the root and flick out, and don't overdo it. A few go a long way. Finally, I squint at both eyes together. Do they feel like a pair? Same direction, same weight? If not, no worries. Adjust until they feel balanced. A well-drawn pair of eyes can carry the whole portrait. If you enjoyed this video, don't forget to like and subscribe. It really helps the channel grow. You can follow me on Pinterest for more references, and feel free to share your results in the community tab. I'd love to see them. Thanks for watching, and I'll see you in the next lesson.