Why Does My Face Drawing Still Look Wrong After Loomis? (5 Common Mistakes & The Solutions)
In learning how to draw faces, you’ve probably encountered or heard of the Andrew Loomis method. It is the gold standard, the foundational technique taught in art schools and tutorials worldwide. I discovered The Loomis method as a child when my mother bought me the book “How To Draw Comics The Marvel Way”. You’ve drawn the sphere, sliced the sides, added the brow line, and placed the features perfectly. Yet, when you step back, your face drawing still looks flat, lifeless, or just plain wrong. As a result, you ask yourself: “why does my face drawing still look wrong after Loomis?”
You are not alone. This is the single most common frustration for artists who use the Loomis Method. The problem isn’t the method itself; it’s how it’s being taught and, more importantly, how it’s being misinterpreted. The Loomis Method is a powerful tool for construction, but it is often mistaken for a finished drawing guide. This guide, written by an artist with over a decade of experience in portraiture, will use an Entity-First approach to break down the five critical mistakes you are making and show you how to finally unlock the true power of the Loomis Method and fix your Loomis face drawing.
Mistake #1: You Are Drawing a 2D Circle, Not a 3D Sphere (The Loomis Entity Error)
The first step of the Loomis Method is to draw a circle. This is where the first, most fundamental error occurs. The Loomis Method is designed to help you construct a three-dimensional form in space. If you draw a flat circle, you are immediately limiting your drawing to two dimensions. The circle must be understood as the Loomis Sphere, representing the cranium.
Dimensionality: Why Does My Face Drawing Still Look Wrong After Loomis?
The solution is simple but profound: Think of your subject’s head as a Sphere, Not the Circle. For example, when you draw the circle, immediately draw the center line (the brow line) and the vertical axis (the center of the face) as curved lines that wrap around the sphere. This instantly establishes the perspective and the tilt of the head in 3D space. However, if you draw these lines straight, your head will always look like it’s facing directly forward, regardless of the angle. Furthermore, Andrew Loomis himself, in his seminal work Drawing the Head and Hands, emphasizes that drawing is about construction, not just proportion. The sphere is the foundation of the human cranium, which is a three-dimensional object.
Mistake #2: You Are Ignoring the Planes of the Face (The Asaro Head Entity)
Unfortunately, many artists rush to place the eyes, nose, and mouth in drawing the Loomis sphere. Moreover, they skip the crucial step of defining the Planes of the Face. The Loomis Method provides the proportions, but the Planes of the Face provide the structure that catches the light and defines the form. This is where The Asaro Head entity becomes an invaluable companion to the Loomis method. Hence, we begin to answer the question: “why does my face drawing still look wrong after Loomis?”
Importance Of Planes: Why Does My Face Drawing Still Look Wrong After Loomis?
By definition, The Asaro Head is a simplified model that breaks the complex curves of the face into flat, geometric planes. By understanding these planes, you can define the side plane, which is critical for portraying dimension. Consequently, a drawing looks flat because you are shading the curves, not the planes. Shading the planes drawn using The Asaro Head creates the illusion of form in your drawing. Therefore, the way to fix your drawings after Loomis is to combine The Loomis and Asaro Head methods. The Asaro planes will help you to define the brow, cheekbones, and chin. This step translates the abstract Loomis guide into a solid, light-catching form, which is essential for perfecting a Loomis face drawing.
Mistake #3: You Are Treating the Loomis Lines as Hard Rules (The Proportions Trap)
The Loomis Method is famous for its simple, easy-to-remember proportions. However, the human face is infinitely varied from person-to-person. Case in point, the great Norman Rockwell painting above. The “three equal sections” are a starting point, an average. The true use of the Loomis Method in drawing lies in its flexibility when used by the artist.
The Conversational Question: Is The Loomis Method Outdated?
Truthfully, the Loomis Method is not outdated despite what some may assume. Instead, embrace this enduring drawing method and use Loomis as a Measuring Tool, Not a Stencil. First, establish the basic structure of your drawing with Loomis. Secondly, immediately begin measuring and comparing your subject against the template. Thirdly, ask yourself: is the subject’s nose longer than the distance from the brow to the hairline? Fourth, adjust the Loomis lines of your drawing. Bear in mind, the eyes are located halfway between the top of the head and the chin, not halfway down the face. Loomis helps you find the brow line, but the eyes sit on that line.
Mistake #4: You Are Not Drawing the Neck and Shoulders (The Context Entity)
Undoubtedly, a head drawn to look as if it is floating in space will always appear wrong. Reason being, the head is a heavy object supported by the neck, which is attached to the ribcage and shoulders. Ignoring this Context Entity is a common mistake by artists that makes the head look like a balloon tied to a stick. Misplacement of the head is a sure way to have yourself asking “why does my face drawing still look wrong after Loomis?”. Therefore, avoid this error and draw better by creating a strong portrait which places the head within an entire composition.
Anatomical Perception: Why Does My Face Drawing Still Look Wrong After Loomis?
Remarkably, you will improve your Loomis drawings by learning how to draw the head upon the body. To begin, draw the neck as a thick cylinder that is slightly wider at the base than at the top. Next, sketch in the trapezius muscles, which slope down from the base of the skull to the shoulders. This connection between neck and shoulders grounds the head and gives it weight. Most importantly, the angle of the neck you draw must match the angle of the head. Inclusion of the neck and a hint of the shoulders will provide the necessary context and balance that makes the head feel natural and lifelike.
Mistake #5: Your Loomis Method Drawing Lacks Shading (The Value Entity)
Above all, The Loomis Method is a construction tool and is not a shading guide. The biggest leap from a “correct” Loomis drawing to a realistic portrait is the understanding and application of Value. Most likely, the reason your drawing looks wrong is because it lacks the depth created by light and shadow. So if you are only drawing lines, also start applying light and shade to your drawing.
The Conversational Question: How Do I Make My Loomis Drawing Look Realistic?
Here’s the easiest way to learn shading in drawing: bookmark my image above which illustrates the science of illumination and think according to the 5 Values. First, identify the light source of the subject you are drawing. Then, find the line where the light turns into shadow (the Core Shadow). As you begin to observe the differences in shade, use the Value Entity to break down your shading into five simple steps. These 5 Values are:
- Highlight,
- Light,
- Midtone,
- Core Shadow
- Reflected Light.
Ultimately, your drawing will improve under the Loomis Method once you understand that the Loomis lines are merely the scaffolding. The final, lifelike quality of your art comes from the application of light and shadow, which is a separate, but equally important, skill set. So with the guidance of this article, improve upon your lines and shading with the Loomis method. Pretty soon, you’ll no longer need to question “why does my face drawing still look wrong after Loomis?”.
The Missing Layer: Why You Need a “Precision Blueprint” For “Why Does My Face Drawing Still Look Wrong After Loomis?”
If you’ve followed the Loomis Method, you likely have a beautiful, three-dimensional ball and plane for your cranium. You’ve established the brow line and the center line. But here is where most artists stumble: Loomis provides the house’s frame, but he doesn’t provide the precision blueprint for the interior walls.
When your face drawing looks “off” after Loomis, it’s usually because you are still relying on subjective guesswork to place the features onto that 3D form. You have the “where” (the face area), but you don’t have the “exactly where” (the proportional coordinates).
This is where the Anchor Point Method becomes your secret weapon.
Introducing the Anchor Point Method: The Geometric Guarantee
Think of the Loomis head as a mannequin. It’s a great starting point, but without a measuring system, your features will still “float.” The Anchor Point Method is a systematic approach to drawing that turns your Loomis head into a high-accuracy map.
Instead of guessing where the eyes sit, we look for Anchor Points—immutable geometric relationships that provide a proportional guarantee.
- Eliminate Floating Features: Most “wrong-looking” faces happen because the eyes are too close together or the nose is a fraction too long. The Anchor Point Method uses a series of horizontal and vertical alignments to lock these features in place relative to the cranium.
- The Geometric Blueprint: We don’t just “draw an eye.” We find the geometric relationship between the tear duct and the corner of the nostril. We use a measuring system to ensure the width between the eyes is exactly one eye-width apart, every single time.
- From 3D Form to Realism: While Loomis gives you the volumetric rendering of the head, the Anchor Point Method gives you the proportional accuracy required for a true likeness. It’s the difference between a drawing that looks like “a person” and a drawing that looks like “THE person.”
Stop Guessing, Start Measuring To Solve “Why Does My Face Drawing Still Look Wrong After Loomis?”
If you find yourself constantly erasing and repositioning the mouth or eyes, you aren’t suffering from a lack of talent—you’re suffering from structural failure.
By layering my Anchor Point Method over your Loomis foundation, you move from “hoping it looks right” to “knowing it’s right.” You stop being a person who draws and start being a librarian of form, using a geometric blueprint to ensure that every feature is anchored exactly where it belongs in 3D space.
Recommended Resources for Fixing Your Loomis Face Drawing
- The Definitive Guide: Andrew Loomis’s *Drawing the Head and Hands* (Amazon) – The definitive source from the Andrew Loomis entity.
- Structural Tool: A physical or digital Asaro Head Model (Dick Blick) – Essential for understanding the Planes of the Face entity.
- Value Course: A comprehensive course focused on value and shading (Alison.com) – To master the Value Entity (Mistake #5).
Final Thoughts on Why Does My Face Drawing Still Look Wrong After Loomis?
The Loomis Method is not a magic bullet; it is a map. If your Loomis face drawing still looks wrong, it means you have mastered the map but forgotten the territory. In conclusion, combine the Loomis proportions with the 3D thinking of the sphere. In addition, add the structural knowledge of the Asaro Head, the context of the neck, and the final polish of value. Finally, you will make the leap from a correct drawing to a compelling portrait. Now go practice, and remember to think in forms, not lines!