After seeing the beautiful work here http://conceptart.org/forums/showthread.php?t=137050 I enquired about the drawing method used and dpaint pointed me to Frank Reilly.
I was wondering if I should consider looking into to it but first I have a few questions.
I have been studying Vilppu, Sheldon Borenstein and Micheal Hampton to learn gesture and contruction so I am able to draw from imagination all leading to me being able to create concepts on paper before creating them in 3D (be it characters or environmets). I am less than a begginner however when it comes to drawing.
Does the Reilly method lend itself well to contruction, memory drawing, animation style stuff or is it purly for life drawing and figurative art ie is it mostly optical? Am I able to mix it with what I am studying at the moment or does it contrast too much.
Thanks in advance for help
The Reilly method, although based on lots of life work (like almost all traditional artistic training) is very much a structural/interpretive approach, rather than an atelier-style visual one. Reilly was firmly against "copying" from the model.
Doug Higgins has a great intro to Reilly, and here are some CA threads with more info:
http://conceptart.org/forums/showthread.php?t=14739 (and the rest of fredflickstone's tutorials)
**Finished Work Thread **Process Thread **Edges Tutorial
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This stuff have been mentioned before but for me, did not go down the tubes as it should.
I think Riley might just be another missing piece or usefull approach that would add structure to what you know already. It will plug in nicely with vilppu if you remember that it's all tools. That tool box is getting bigger and bigger now.
Last edited by George Abraham; March 18th, 2010 at 02:42 AM.
Scetchbook: View the exhibitionist's stuff.
Ooops double post
Last edited by Whirly; March 18th, 2010 at 03:26 AM.
Thanks for all the info guys.
Iv been checking all the information on the web and it all looks a bit alien to me since I have bearly ventured out of the Vilppu realm.
I think what interests me most is how interesting the tone part of the drawing looks.
-All the stuff on Raileyh's page
-This definitly what you just linked me to http://conceptart.org/forums/attachm...1&d=1204117745
-Zhaoming Wu's work like this http://www.imagesofeyes.com/nudes/images/wu7.jpg
Does this at all resemble the Reilly school? http://www.ryanwoodwardart.com/figurative.html
As you can tell I think I have a thing for charcoal work at the moment.
So I can assume I can use gesture and then contruction to build something and use something closer to the reilly method when laying in tone?
If I was to describe the Vilppu school it would be.
1. Fundimentals thinking in 3D drawing lots of geomtry and how they relate and connect to each other in space
2. Gesture to achieve the gestalt/whole, first thing!
3. Contstruction - Lay in 3D geomatry on top of the gesture to create simple 3D form.
4. Use anatomy knowlage to refine 3D shapes into correct muscles
5. Something about tone that I havent covered yet
If you were to simplfy the Reilly method this way how would you do it?
Also which book/video would you recommend covers mostly this type of stuff http://conceptart.org/forums/attachm...1&d=1204117745
Also (last question I promise ) I always thought Kevin Chen tought the Vilppu method and a bit of his own stuff. I love his work and have just been reading he uses more of a hybrid of Vilppu and Reilly which is very interesting.
Last edited by Whirly; March 18th, 2010 at 03:28 AM.
What stood out for me in the Riley material on that page is:
Abstract proportion plan integration with gesture
I think Riley as the name is saying is handing you "Methods" and not teaching as such. His giving you his personal quick strategies.
Scetchbook: View the exhibitionist's stuff.
I have all the books on Reilly that were published and none of them have great explanations for the value construction. The best seem to be the class notes from Orbik, Fixler and Watts. I have the Watts notes in Pamphlet form but not the others. Those I have from downloads found here which seem incomplete. Also Reilly hinged a lot on life drawing augmented with copy work. At least according to Watts, who also emphasized drawing from Loomis a great deal with life study.
The downside of the Reilly method is how hard it is to understand if you don't see someone doing it. I've never seen anyone that could draw that way who has just got it from a book. I could be wrong and maybe there is someone out there but I've been collecting Reilly notes for 30 years. I also want to say it is not a give me if you were a student, as there are plenty of bad examples out there too. But all in all the top students seem to really shine with that method.
Last edited by dpaint; March 18th, 2010 at 09:36 AM.
Whirly, my general understanding of the three types of SoCal-based figure drawing are as follows:
Vilppu - heavy on gesture with an emphasis on the landmarks of the skeleton, builds from the inside out
Art Center - heavy on forms in space, figures can be architectural/mechanical as many elements are borrowed from methods learned in industrial design/dynamic sketching
Reilly - heavy on shape design and rhythm, often relies on tone to turn form
All three are great drawing methods. You can mix and match as you please. I do all the time.
The image you posted is one of Nathan Fowkes' charcoal demos. Nathan studied at Art Center where they also teach the Reilly method to some degree. Nathan's approach in that demo is to start with a simple sketch nailing the overall placement of the features of the head, after which he uses Reilly rhythms (basically lines that typically wrap around the muscles of the face) to further refine the drawing. When he's ready to "paint", he decides which areas belong to the light and which belong to the shadow, and uses a compressed charcoal stick to cover the shadows and establish his darkest darks. He then smears the shadows into the lights with his hands to create halftones, and uses a kneaded eraser to pick out the highlights. Further touch-ups are done with the kneaded eraser and charcoal stick.
Here is a step-by-step:
Kevin, by the way, was largely taught by Steve Huston (Art Center) and Mark Westermoe (Reilly), so his approach is a hybrid of the two.
Thank you all for your help again. One of these days when I have earned some money and begin to be a good artist I am going to tour the renound schools in the US and do as many classes as I can.
Then its off to be a Pixar Lighting TD ....
thats the dream anyway.
For now back to studing Vilppu
SFA has written a very helpful post that taught me some things that I didn't know, thank you . Whirly, my advice would be to take all the methods and artistic knowledge into consideration and implement whatever works for you as often as you can. The only way to pick and choose between what you like and what you don't is to learn it all. I personally incorporate influence from all over the place in my own work (not that I'm a great artist, just an example). From the classical work of the old masters to animation to highly detailed illustration. In the end, the knowledge is all the same. Use what you like and keep the rest in reserve somewhere in the back of your mind just in case you need it in the future.
Last edited by Sir Cam; March 27th, 2010 at 06:01 AM.
"Argue for your limitations and sure enough, they're yours." -Richard Bach
In case anyone happens on this thread with a similar query I found this website by chance and its awesome.
Very simple demo's of how to do Reilly method type stuff. http://www.freshdesigner.com/