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Loomis Method General Approach to the Loomis Head and Reilly Head

Jun 05, 2021
Alright, welcome back, I'm Kevin McCain with Idor Classes and Kevin McCain Studios, so let's talk a little bit about the Loomis

method

of drawing

head

s. The Loomis

method

, you see, there are many videos on YouTube. It's a really great method to work with in terms of dealing with portraiture that I like, the Loomis method, especially for the three-quarter view, we're going to go over it, we're going to use it for me. I'm going to show you how to use it for the front view, the three-quarter view, and the profile, but I mainly use it for the three-quarter view.
loomis method general approach to the loomis head and reilly head
As far as that goes, I usually use an egg shape for the front and three-quarters.

loomis

and then a lot of times I'll use a modified

loomis

and a couple of other methods for the profile, but the way this works is that with lumus you're always using a circle and the nice thing about if you have a circle is that the circle is always the same no matter where you look at it from, so no matter where you have it, you know if you have a sphere, now the sphere, of course, is three-dimensional, but it's the same thing that we could throw, show a three-dimensional sphere. so, two ellipses that intersect to show that it has volume, but no matter how you rotate something that is a sphere, it is always the same and that is the idea that I obviously established a circle, but obviously the

head

is a volume, so what we're really talking about, so it's a sphere um and again, no matter how you rotate that sphere, you're always going to be left with the silhouette and we could turn it into a two dimensional shape which would then be the circle, so you have two. parts with luminous, you have the cranial shape, you know, which contains the brain mass, you know, they simplify it into the sphere and then you have what some people will call the shield, which is where you come down, you know, outside the circle. and this is not very symmetrical, but we'll use our imagination, but if we have this, you know, it looks very similar, you know, almost like a coat of arms, and this is the jaw that goes down here for the very square chin, obviously, uh , this goes down from the cheek, down from the cheek, um, so again you have this shape that tries to make this little extended trapezoid here, but you have this shape married to the sphere that happens.
loomis method general approach to the loomis head and reilly head

More Interesting Facts About,

loomis method general approach to the loomis head and reilly head...

Basically the idea of ​​the light method and again it's a really cool method because you can use it for all kinds of extreme angles. So what is it? Well, again with Loomis we always start full circle. It would have been great if he had done it. He had warmed up first before doing this, but again we're going to start with that circle, there's enough circle here, we can, you know, get this circle out here, usually I'll warm up by doing a few dozen circles before. and egg shapes and things and lines before we 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 actually going to start drawing heads, especially if I've never drawn them before, but if you've drawn them and you want to get better, you're going to get a lot of practice just the basic head shapes, so if you're making egg shapes and dividing them up. using the half, half and half method, well then you are going to draw, try to draw, you know about 100 of them, just divide them, not in one go, do what you know, five, or ten at a time sitting, and then continues. doing it to you, you've done 100 of them by the time you've done it, it's really going to get into the gray matter, as we say, in other words, you'll actually be able to do it. you do it instinctively and then you'll find it much easier to just divide this in half.
loomis method general approach to the loomis head and reilly head
You find it a lot easier when you're drawing when you're using something that you have that you've basically memorized and then and then it just comes together a lot faster, so whenever we're dealing with uh and you might be saying what is it, what are you doing, just I'm dividing this circle in half vertically and horizontally, so this is the horizontal half. Excuse me, no, it's not the horizontal half, that's the vertical half, this is the horizontal half, let's at least use the correct nomenclature, but the first thing you need to do for the Loomis method is divide this circle, let's divide it into six sixths should really pronounce that, so let's divide this into three and this into three to get six parts in total, so again now you could go ahead and estimate this, if you were really worried, that's a little low if you were really worried because I could use the armature of a rectangle for those who don't know what I'm talking about, you can continue with the YouTube channel, see, you know how to divide things using the diagonals of a rectangle. and we could use that to break this up um, I think we're going to move on now, this is where you're struggling, we're like, oh, okay, this is kind of like that's there and that's there and that's okay.
loomis method general approach to the loomis head and reilly head
That's not bad, so my thirds are fine, so divide it from the midpoint from here to here, divide it into three. Now take this from the midpoint to there and divide it into three. Since I already did this once, I could. grab this right here and all we need is the same distance from the top oh, just a little bit far, there we go, that should be pretty close, let's go ahead and check that I'm just using my thumb and the pencil as a measurement. tool to be able to measure that here I can come here and measure it there so this here and again because we are dividing half three half here we divide it into three we divide it into six but we really need them Because I didn't do this, obviously, you know, whatever we can, whatever, so you could divide this into six, but the reason we're doing this is we need this right here and the reason is we need this. circle we need an area that is two-thirds one-third well instead of dividing all this into thirds instead we divide it into six this here is two-sixths that same there are two-sixths this is a sixth this is one-sixth and then I get two-sixths and four-sixths, boy, that really sounds like a snake, no, uh, and if we go ahead and take that fraction and simplify it, we would get that this right here is two-thirds right. and then if we add these two, this sixth and that sixth are going to equal one third, so we're going to get two thirds and we take this piece and that section and that's one third, that's very important, I need to step back a little bit. because the first thing we didn't do in this is, the way Lumus works is if you take the skull. it has a flatter side and then a rounder side so the top and bottom are the round sides and then it's a little bit flatter on the sides and what they do is like you're cutting a section um So if we cut this with a knife or something like that and this piece falls off, then we would have to know a piece that we have cut here from the side that is supposed to be the top and then Cut this again and so we end up again with a piece here on the side , so you're trying to end up with something that's a little bit flatter, it still has a roundness to it, but it's a lot flatter because we.
We've cut that section and we cut this section, so this section that we're cutting is the two-thirds piece, okay, so we need to have the two-thirds, um right there, um, and now, if this were if this were you know, looking towards me and I was cutting this and we could go into this if my center if it was centered my center of vision if you want to get into perspective that just means your eye is right in the middle if we cut to this and we cut it, it would stay straight because we wouldn't be able to see the volume because of where our eyeballs are, if you started moving the eyeball and it's no longer here and now you move a little bit to the right without getting any closer, but you move to the right and then again you start to see a little bit on this side, you would see that ellipse because now you've moved a little bit to the side, so now you can see the ellipse again 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 you would start to see a little bit of curvature this is the front of the ellipse we can't see the back of the ellipse the lips would be around the corner invisible this is what that means checkered line, but the idea is that if I'm looking directly, it wouldn't be a straight line and it's pretty much the same as if we have perspective. and I have lips above me I can see the ellipse if it is below my eye I can see the ellipse if this ellipse goes down and lines up exactly with my eye it becomes a straight line if you don't understand What I'm talking about is a matter of perspective and it's something you'll want to learn, but we're not going to dwell on it right now, we're not going to go too deep into it, but the idea is that anything that touches 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 that's what I was doing with that, if my eye was right here, I would do it.
I can't see this ellipse or this ellipse would just be, you know, straight lines, but for the most part, we have this part, we have the two-thirds, one-third, and what we're going to do now. I'm going to do this like it's like the

general

and again we're going to act like it's a three-quarter view, so we're going to go ahead and put an ellipse here and this ellipse. Again, this is the side of the head and that's where we cut this section here and we actually cut both sides, but again, if I'm in three-quarter view, I see the head turned.
I can see, I can see this side where they cut the slice, but where they cut the slice here is around the corner, I can't see, I'll only see the curvature because the flat side is around that sphere, so Once again, we're still talking about perspective and the best thing about the loomis method is that it deals with perspective in your head, so everything is affected by perspective, sometimes we just think about that because in perspective a lot of times you start with pictures. and sometimes people start to think that it's just a box, it's like no, you can put a sphere inside the box and touch every corner and so the spheres and the cones and anything that is three-dimensional is affected by that perspective. which sometimes we think of as just you know, sometimes it's just boxes, but it's not just boxes, it's anything that is three-dimensional and is affected by perspective, that's an important concept and when we're dealing with three-quarter views and You can even say well, it's up to you. with perspective and in a front view, yes you can.
I just did a front view the other day where the eye wasn't looking directly into the eyes, it was actually the eye of the camera, in other words it was down, so we had perspective. that was something that happened on the face because of the perspective of the person seeing the person we were drawing, um again, if that's something, you're not having a very big problem here trying to get these pencils, if that's what something that you're not used to thinking about or not, you don't know perspective, uh, I have videos on one and two point perspective, a little bit about volumes, I go and look at them, it's really cool, uh, to help.
You know, get your eye or pair, yes, it's part of training your eyes to see perspective, it's always there, whether we see it or not, perceive it or not, and the more you draw, the more you perceive, the more you understand, the more you see it. that is actually happening rather than making visual assumptions, which always helps the drawing, so with a three-quarter view and we're going to start with a three-quarter view with the looms that you have, this is the first thing we want is sixth and thirds because this here is supposed to be two-thirds the height of this, no matter how big it gets, it could have a bigger and bigger ellipse, but that ellipse always turns into a circle, but again, it always turns It's supposed to stay within the two-thirds area, okay, so that's an important part now, maybe I need to come back here because I don't need all that to be muddy, but what's right, this is the corner of the face, so which we usually have the front side of the face versus the side and with Bridgeman I would actually put the head in the box if this is where your eyes are and the cheekbone would be the side where your ear was because the face again has a front side it has a left side like a right side like the top side has the bottom side has all of that so we're going to go ahead and minimize some of these things we're still going to keep these lines because they're important and we're going to talk about why so yeah , let's get rid of all this fraction stuff so our brains don't start to become too overloaded with information.
So again we have again, this is our middle line. this is our you know this is a third here this is a third there together we have two thirds um we're going to take this little this little this guy here and we're going to go ahead and cut it in half so this is the next thing we're going to do. let's do it, let's cut this ellipse in half, okay, now the lumis helps us with a couple of things, it helps us with the rotation of the head from side to side, it helps us with the rotation of the head, now you know, leaning forward or leaning back and then it also helps us with the head tilted from side to side or what people will talk about with the x and z axes, okay and all that means these are coordinates and whoever said trigonometry Well, you know they'll talk a lot aboutaround, there's where you have the bottom part of the eye socket, but this here is what we call, you know again, that visor where it goes towards the eyes, um, but then we You're going to be able to develop this into a head with the that you would start, this comes towards the forehead again, it's three quarters, the eyebrow will wrap here, uh, and then it will start to project for this, actually, you know. you have a cheek there, um and again you're going to look at some people, it depends on if you know what angle you're at, normally the cheek should be further out from the head than the top of the eyebrow, the cheek will stick out a little bit.
Also, that's the whitest part of the face, but mine looks like it's a little bit in there, which is a little strange, but we're going to leave that because it's just a generic head, so we'll have the forehead and then and then this distance here is where we have the end of the eye socket uh to position the eyes a lot of times we'll just go ahead and look at where the eye starts and the eye, this is the end of that eye socket. so the eye is actually a little bit and what a lot of people will do is go ahead and place where the edge of the eye is and then when you have the three eyes you just need to divide this into three now it's in perspective so there's all that uh there's this perspective so this should be a little bit wider this should be a little bit shorter this should be the shortest of all uh you don't want to go crazy On that, I think mine is a little extreme right now, but this would be a third now again if we're doing heads, we're like, wait a minute, I thought they're supposed to be the same, well, they are if we're not in perspective, but this is in perspective, so we have four shortenings, so again this will be the longest, this will be a little bit shorter and this will be the shortest of all, but you want to make sure you don't go crazy.
In that, otherwise, it will be like this right here. I still think it's too much, so I'll make it a little thicker. This eye with that eye is even shorter, which means that this one needs this medium. one has to be a little, there has to be a little more, I think it's a little better, it's still to shorten, but it's not like that, it's not as out of control as before, they were just shortening too much. uh, and so we're not going to get into this here, we're just going to make a basic symbol for an eye, we're not going to sit here and go crazy drawing some kind of but, you know, this would be this would be our eye here this it's not even close to being a half decent eye but we'll go ahead and say there's an eye here uh it's a symbol that symbolizes an eye uh as far as that goes, that was too much of an arc up there, but okay, again we'll pretend we'll use our imagination and then again we'll have an i here a lot of times with this, you'll actually get the eye turning back and inward on itself as it's going around the corner of the eyeball, which is always fun because, again , now you are drawing perspective eyes again. drawing pencils on top of the eye coming here coming around this is going to be the eyeball this is the eyelid like the eyelid is too open um and I don't know why but this thing isn't just too big iris there we go that's a little more naturalistic we're not going to get into the features today this is just these are just space containers uh for things that are supposed to represent things in this case it represents an eye so this is just this is just a hold uh this is just a symbol it's just to hold is a placeholder as you could say uh from here you're going to have the nose coming out again now interesting this is just a generic head uh but one thing about the nose This is the bottom of the nasal cavity, but the nose in actually the septum goes a little bit below, so again we're thinking about the skulls as we draw this, but we have to again be aware and also projects, so if this is far enough, this will actually come in front of this eye because this nose projects outwards and then we'll start to cover more and more of that eye and in fact where this is it should probably project outwards. a little bit more, but we won't, I think it'll be close enough for what we're doing, but we can go ahead and say, okay, this is the wing of the nose, uh, this is the bottom of the nose. this is, you know, we're going to make the bridge come down here, so that's the bridge of the nose, you know, these are just very basic symbols, this is the end, just look at a little bit of that, the opposite wing of the nose. coming down um and again this is not this is now we haven't changed the center line either now the face projects so with this now this would now go around the forehead it would go down here where you would come out from you know again up as it projects on the nose, will recede and then there will be a projection in the mouth so again we will start to get an outline that shows the fact that this has volume we will start to see volume as if We see a circle with a line of length right in the middle and we are in the middle, we can't see the fact that it's round because of the way we're positioned, but those lines of longitude move 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 when we turn the face we really start to see what is called Cylinder tooth, the fact that it is round here and then we lift a little bit of the chin around the chin, it seems that We need a little more chin down here, but would you know you'd get a little bit of that? projection, so you'll have a mouth again, you'll see a little bit of this projection as well, uh, and then we would have again, we're just going to make again a very simple little symbol that symbolizes the mouth, but it's not actually a mouth, it's just a symbol of a mouth, this would be the lower part of the one that would come back, this would project outwards, this would be the lip, the lower lip, so the lower lip, and remember we made the skull, this is how we did it. the proportions of the skull that's how we did it, oh, there's the eyebrow, that's the nose, that's the chin, well, the lips are somewhere in between, now if you know the loom with luminous and you know that you cut this in half and this should be halfway, my mouth is actually a little too low because the midpoint should be the bottom of the lip and that's not the ha, even if I lowered my chin down to here I don't think it's halfway, no, it's still a little low, um, but we're anyway.
I'm not too worried about that because this is just a dummy, we're not. I'm not worried about the fact that that ratio got out of control and I can't seem to draw it, but we have this again. you know the lips are going to be between the chin and the nose and then we're going to have of course you know you're going to have a neck where this head goes sit as far as it goes uh this back here back here you go to that midline behind that's where there's the ear, so again you'll want to know that sometimes depending on perspective the ear can be a little bit lower than the nose sometimes it's a little bit higher than the nose, it just depends on what's going on and again , the ear depends on the perspective, it may be above, but this will be almost straight, so we don't understand.
I don't have much perspective, but the ear is between the forehead line and the nose line is where you're going to have the air on this person and this is a little bit sharp, it would actually curve here, you know it wouldn't be like that. It's so sharp that it would curve there and look a little less, you know, like it was chiseled, you know, in stone or what haven't you had, you know you'd have your eyebrow coming over here, over there, oops! there its bounce and when you see things like this this really looks like a mannequin.
I'm not trying to make him look less like a mannequin right now. I'm not really worried about it, but at times I certainly was one of these people. That question is frequently asked, what the hell? Then you would see something like this that really looks stylized. I mean, this doesn't even look like a person. I would say: how are you going to get a person with that that just looks so? so clumsy and uh and and yet if you use it it's and I have again some videos where I show its use where we use the concepts of this and then we apply it to a real person uh and suddenly like oh that's where the power is to get you these basic proportions happen on the face and so on, etc., if this is the ear, then you know, let's say this person has short hair, uh, you'll have a little bit.
Depending on how many side burns they have there, but you'll start to have again two little scoops here for the hairline, you know, so again the hair will grow from the skull, so and so on so you know whatever. that maybe this person has whatever, maybe they have a slight haircut or something crew cut or whatever they call it nowadays, but a very short haircut, you know, so this would be with the hair of foot, but you know, it's cut pretty close to the head, um, this is again the basics, Riley's basic head, uh, again, this is the line of the nose, the line of the eyebrows, the line of the chin, the hairline on the top of the head and above the head grows, is where the hair grows and of course we have this going down to the neck, screams and then this would be really cylindrical when it comes to this and again this looks very, very, very stylized, but we're actually going to do some drawings, but if I don't know how to use how this light method works, then it's going to look a little strange, so this is the Loomis head very essential.

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