Hello! Welcome to a new module. Over the past few weeks, you've done an excellent job deconstructing complex manufactured objects like buildings and vehicles into their fundamental geometric forms. You've learned to use boxes, perspective grids, and subdivision techniques to build accurate and solid-looking structures.
Now, we pivot from rigid forms to the more organic, subtle shapes of the human head. You specifically mentioned an interest in learning the Loomis method, and this module is dedicated entirely to that. Our goal is to apply the same deconstructive mindset to the head. We'll start with a simple primitive and progressively add structure and detail, just as we did with boxes for architecture.
Today’s lesson focuses on the very first, most crucial step of this process. Our learning outcome is to construct the basic Loomis head: a sphere with sliced sides and a centerline for orientation. This foundational shape is the "wireframe" upon which we will build the entire portrait.
1. The Core Idea: The Cranium as a Sphere
The genius of Andrew Loomis's method is its simplification. He recognized that the complex bone structure of the skull could be simplified into two main masses: a ball for the cranium and a block for the jaw. Today, we focus exclusively on the cranium.
Let's begin by watching a brief introduction to this concept.
How to Draw the Head from Any Angle
The channel Proko offers a fantastic series on the Loomis method. This short clip introduces the core idea of breaking the head down into a sphere for the cranium with flattened sides.
Watch from the beginning (00:23) to 01:17. Pay attention to how the complex head is simplified into a ball-like shape for the cranium, and how 'slicing' off the sides makes it a more accurate representation of the skull.
As you saw, the starting point for everything is a simple sphere. Back in our very first lesson, you practiced drawing circles and ellipses. Now is the time to put that skill to work. The quality of your initial sphere will determine the quality of the final head drawing.
The Ultimate Guide to Drawing the Turned Head
The article 'The Ultimate Guide to Drawing the Turned Head' by Amiko Simonetti provides some excellent practical advice and exercises for this first step.
Please read the section titled 'Practice with Drawing Exercises', focusing on exercise 'A. Draw 50 circles'. The key takeaway is to use your whole arm (drawing from the shoulder) and build up the circle with light, confident strokes rather than trying to draw a perfect single line.
Take a few minutes now to fill a page with circles. Don't worry about perfection. Focus on the physical motion and on creating spheres that feel voluminous.
2. Defining Orientation: The Brow and Middle Lines
A sphere on its own has no orientation. To turn it into a head, we need to define which way it's facing. We do this by drawing two crucial contour lines that wrap around the form:
- The Middle Line: A vertical ellipse that divides the sphere into left and right halves. This line represents the center of the face.
- The Brow Line: A horizontal ellipse that wraps around the sphere's equator. This establishes where the eyebrows will sit.
The curvature and position of these two lines tell us everything about the head's angle. This directly relates to the concepts of pitch (up/down tilt) and yaw (left/right turn) you were interested in.
This next resource provides an interactive model that is invaluable for understanding how these lines behave in 3D space. Your background in graphics programming will make the value of exploring a 3D model like this immediately apparent.
The Ultimate Guide to Drawing the Turned Head
Let's return to Amiko Simonetti's guide. It provides a step-by-step walkthrough and includes an interactive 3D model that will solidify your understanding.
Read 'Step 1: Draw a Sphere', specifically subsections B and C. Then, spend some time playing with the embedded 'Lined Sphere' 3D model. Rotate it around. Observe how a line appears straight when it's at the center of the sphere facing you, but becomes more curved as it approaches the edge. This is perspective in action on a curved surface.
Test your understanding!
You are drawing a Loomis head. If you want the head to be looking sharply to the left (a three-quarter or near-profile view), how would you draw the vertical middle line?
Show answer
You would draw the vertical middle line as a highly curved ellipse far over to the left side of the sphere. The more the head turns away from the viewer, the more this centerline curves and shifts toward the edge of the sphere.
3. Slicing the Sphere: Creating the Side Planes
As the Proko video mentioned, the human cranium isn't a perfect sphere. The sides are flatter. To represent this, Loomis imagined slicing a piece off each side. In our drawing, we represent this "cut" or "plane" with an ellipse.
This side ellipse is a critical landmark.
- Its center sits on the brow line.
- Its height is roughly two-thirds of the sphere's total height.
- Its width changes dramatically with perspective. In a perfect side view, it's a perfect circle. In a front view, you'd see two very thin ellipses on either side.
This video demonstrates how to place these ellipses after establishing the centerlines.
Unlock Drawing Mastery: The Loomis Method for Heads + Free Worksheet
In this video, artist Alfie Berger demonstrates the construction process. Let's focus on the part where he adds the centerlines and then the side ellipses.
Watch from 01:27 to 05:29. First, observe how he adds the centerlines to orient the spheres he drew. Then, pay close attention to how he places the ellipses on the sides to create the 'corner' of the cranium. Notice how the horizontal and vertical lines he draws within the ellipse help confirm the perspective.
Practice Exercise (15 minutes)
Now it's time to put all the pieces together. Your task is to fill a page with basic Loomis head constructions, viewed from a variety of angles. For each one:
- Draw a Sphere: Start with a light, confident circle, drawing from your shoulder.
- Establish the Angle: Draw the wrapping brow line and middle line. Try different angles: looking straight, slightly up, sharply to the right, down and to the left, etc. Use the 3D model from the Amiko Simonetti article as a reference if you need to.
- Slice the Sides: Draw the ellipse representing the side plane. Remember that its center should be on the brow line. Most importantly, ensure its width and angle are consistent with the orientation you set in step 2. If the head is turned far to the side, the side plane ellipse will be wider and closer to the center.
- Check Your Work: Add crosshairs inside the side ellipse. The horizontal crosshair should align with the brow line. The vertical crosshair should feel parallel to the main middle line of the face.
Don't add any other features. The goal is to master this foundational form. Focus on the relationship between the three main elements: the sphere, the centerlines, and the side plane.
Conclusion
Excellent work today. You've taken the first and most fundamental step in mastering the Loomis method. By deconstructing the cranium into this specific geometric form, you've created a solid and logical foundation to build upon.
Key Takeaways:
- The Loomis method begins by simplifying the cranium into a sphere.
- The orientation of the head (its pitch and yaw) is defined by two wrapping contour lines: the middle line and the brow line.
- The flat side planes of the skull are represented by "slicing" the sphere, indicated by drawing an ellipse on each side.
- The size, shape, and position of these elements all change predictably with perspective.
Next Lesson Preview:
Now that you can construct this basic form from any angle, what's next? In our next lesson, we will use the landmarks we've created—especially the brow line—to establish the primary facial landmarks and the division of the face into thirds. This is how we'll determine the location of the hairline, nose, and chin, and begin to attach the jaw structure to the cranium.