, where the head and body are treated like articulated figures. This simplifies the process of capturing weight, balance, and complex poses. Why This Method Works Unlike the classic Loomis Method
Instead of drawing soft contours for the cheeks, Chen utilizes sharp, geometric planes.
Kevin Chen , a renowned instructor at the Concept Design Academy (CDA) kevin chen head drawing method hot
Ready to try it? Here is the distilled workflow based on Chen’s live streams and Patreon tutorials.
The structural approach provides a strong foundation, allowing artists to simplify or "stylize" the face without losing the sense of 3D volume. , where the head and body are treated
: You begin by understanding the foundational bone structure (cranium and jaw) before layering muscles, skin, and tone.
Chen simplifies the complexity of the head into two major masses: the cranial box and the facial wedge. By clearly separating these two volumes, artists can more easily manage perspective. If you get the box of the cranium right, the features have a stable shelf to sit upon. This approach mitigates the common beginner error of features "floating" away from the face center line. Kevin Chen , a renowned instructor at the
Unlike traditional rendering methods that encourage artists to copy the contour lines or shadows they see on a model, Chen’s method prioritizes . The approach relies heavily on combining the foundational principles of historical masters—such as Andrew Loomis, Frank Reilly, and John Asaro—into a highly practical workflow for concept designers and illustrators.
Perhaps the most "hot" aspect of the method is its emphasis on logic. In a recent seminar, Chen famously deconstructed the eye not by teaching how to draw eyelashes, but by explaining the sphere of the eyeball, the tilt of the eyelid over that sphere, and the fatty tissue surrounding it. When a student understands the why (anatomy), the how (drawing) becomes intuitive. This empowers artists to draw from imagination, a skill highly prized in the entertainment design and concept art industries.
: Use the brow bone and jaw to set the rhythm and scale of the face.
, where the head and body are treated like articulated figures. This simplifies the process of capturing weight, balance, and complex poses. Why This Method Works Unlike the classic Loomis Method
Instead of drawing soft contours for the cheeks, Chen utilizes sharp, geometric planes.
Kevin Chen , a renowned instructor at the Concept Design Academy (CDA)
Ready to try it? Here is the distilled workflow based on Chen’s live streams and Patreon tutorials.
The structural approach provides a strong foundation, allowing artists to simplify or "stylize" the face without losing the sense of 3D volume.
: You begin by understanding the foundational bone structure (cranium and jaw) before layering muscles, skin, and tone.
Chen simplifies the complexity of the head into two major masses: the cranial box and the facial wedge. By clearly separating these two volumes, artists can more easily manage perspective. If you get the box of the cranium right, the features have a stable shelf to sit upon. This approach mitigates the common beginner error of features "floating" away from the face center line.
Unlike traditional rendering methods that encourage artists to copy the contour lines or shadows they see on a model, Chen’s method prioritizes . The approach relies heavily on combining the foundational principles of historical masters—such as Andrew Loomis, Frank Reilly, and John Asaro—into a highly practical workflow for concept designers and illustrators.
Perhaps the most "hot" aspect of the method is its emphasis on logic. In a recent seminar, Chen famously deconstructed the eye not by teaching how to draw eyelashes, but by explaining the sphere of the eyeball, the tilt of the eyelid over that sphere, and the fatty tissue surrounding it. When a student understands the why (anatomy), the how (drawing) becomes intuitive. This empowers artists to draw from imagination, a skill highly prized in the entertainment design and concept art industries.
: Use the brow bone and jaw to set the rhythm and scale of the face.