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I’ve learned numerous different ways and techniques to draw.  I keep them all in my visual toolbox to utilize when I need them.  One particular technique I’ve been discovering more in depth lately is that of the great teacher and illustrator, Mr. Frank Reilly.

The “Reilly Method” of drawing is not expressly defined because Mr. Reilly never wrote any books on his method.  All knowledge comes from notes taken by students attending his classes and the students themselves, many of which went on to continue his teaching methods.

The Reilly method to drawing the figure is a general system used to construct the human figure.  It breaks drawing the figure down to simple ideas and rules that can easily be memorized although Reilly says this method is a way to “think” of drawing the figure and less a connect the dots method.  What’s sets it apart from other methods I’ve learned is the idea of finding abstractions in the model.  An example of an abstraction might be the shape of the shadows on the nose or under the lip.  It’s any abstract shape or pattern that you can find.  When you draw these abstractions it’s easier to get correct proportions, sizes and overall correct drawings.  When you add that to good gestures and anatomy you get a very potent drawing.

What really started to enhance my figure drawings were his ideas about shading.  When you’ve got all the construction layed in you separate the image into light side and dark side.  Reduce everything in the shadow on one side and everything in the half tone and light into the other.  Shade everything on the dark side a 50% gray with the side of your pencil or charcoal.  Then you can go back and refine the values, adding darker one.  It’s the idea of how he approaches the figure that is the key.

Practicing his method allows you to do very accurate and quick drawings but also opens it up so that you can have more of your artistic input into the drawing.  You’ll end up doing a lot more drawing of the model and less coping it.

Below are numerous links I’ve found that showcase and talk about his methods.

http://www.dhfa.net/Artiststatement2.html

http://www.americanartarchives.com/reilly.htm

http://todaysinspiration.blogspot.com/2008/05/frank-reilly-could-teach-wooden-indian.html

http://www.blog.freshdesigner.com/2009/08/riley-method-head-drawing.html

Also, check out Fred Fixler and the Watts Atelier.

Just a little sketch for a possible painting.  Don’t get your hopes up though.  I do a lot of sketches for possible paintings that never go any further.  Other paintings get in the way, projects come up, people offer to pay me to paint other stuff.  Things happen so I thought I’d start sharing more of these from time to time because I get see them finished in my head and they look awesome.

I took my son to the park yesterday.  It was a new 100,000 dollar addition they just installed and it looked every bit the price tag.  This was probably the coolest playground I’ve ever seen.  It looked more like a water park or theme park more than a local kids play park.  After trying everything out my young mini-me comes up to where I sat relaxing on a bench and says, “Daddy, why are our neighbors in the woods over there?  What neighbors,” I respond.  “You know, those funny looking ones from the neighborhood watch.”  Only “neighborhood watch” come out like “naybahud och” because he’s only four and still has a slight lisp.  I look over but don’t see anyone.

I tell him they probably just want to see the new playground too.  I start to ask him more about the “naybahud och” people.  “I just wanna go slide,” he says looking away.  I don’t push him.  He goes back to sliding and I got back to sitting on the bench, only I can’t relax anymore.  I pull out my sketchbook I brought along and start drawing, every few minutes stopping to glace towards to the nearby woods.

I’m not the only one who can see them.

In order to draw the human knee correctly it helps to understand the underlying structure.  To draw something correctly you really have to observe it.  Look, study and learn.

I’ve been learning some lessons the hard way the past few weeks.  Some people get motivated to run because they want to loose some weight while other run because a big mean dog is chasing them.  Instead of running, I’m drawing.  Same result.

I mentioned to my wife the other day about these creatures that will get me if I don’t draw everyday.  She just rolled her eyes.  I’m going to go out on a limb here and say I don’t think she believes me.  Not sure I should try to convince her.

I just have to keep drawing, right?  Nothing to worry about.  Right?

I’ve gone to a lot of different figure drawing classes over the years and I’ve found many make some common mistakes that make it more difficult to have a successful session.  To that end here are my top 10 tips, suggestions and outright mistakes that go on in a  figure drawing class.

1. The model is lit badly.

I can’t tell you how frustrating it can be to have a beautiful model posed in a perfect way with nary a shadow in sight.  When everything is one value it’s harder to draw.  Shadow reveals form.  It helps us to see round objects as round or planes when they turn.

In my opinion the best way to light the model is to use one key light and a softer secondary light on the opposite side (or right angle) of the key light.  Another great choice is just to have a simple single light source.  This is particularly good for quick poses.

2.  Bad Model

To anyone that thinks being a good figure model only involves being able to stand up in front of people with no clothes on needs to think again.  A good model creates good poses and is able to hold those poses.  Nothing worse than starting a drawing of a model with her hand in the air to finishing it with her hand by her waist.

3.  Lazy Model

Probably one of my personal pet peeves.  A lazy model is one who thinks that my entire figure drawing session doubles as her personal nap time.  I have no problem with models who doze during long poses.  That’s normal.  What’s not is a model who does 2 hours of laying down poses in a 2.5 hour session.  I’m not talking about reclining, but laying down flat on his or her back.  There is another profession out there if you want to get paid for just lying on your back.

4.  Props

Yes, the best figure drawing is nude figure drawing but don’t over look a few props that could enhance the session.  Boas, different types of hats, jewelery, dramatic makeup, swords, axes, or staffs make excellent additions.

5.  Put your model to work

Having your models actually interacting with an object in some fashion turns the body from stationary relaxed muscles to active engaged muscles.  Pulling on a rope, pushing against a chair, etc.  This is also a great one for warm-ups and quick poses.

6.  Ask questions

Don’t be afraid to ask questions of your fellow artists.  For some reason it’s seems many people are reluctant to talk in a figure drawing class.  If you have an instructor this isn’t a problem but in open figure drawing classes hit up anyone whose stuff looks good to get some tips.  Outright asking for a crit or help with your work is OK too.  Most artists would love to help out a fellow artist.

7.  Music is my muse.

Music is great when figure drawing but please be somewhat considerate.  I know that not everyone is going to agree of what good music is but at least take a vote before playing Celine Dion or that new recording of original tribal chants you found at the flea market.

8.  Be respectful.

This usually isn’t a problem but every once in a while you’ll get someone whose mind is still stuck in middle school.  Don’t make sexual comments about the model or say things that could be taken as such by the model.  I’ve been in model sessions where someone says something, some laugh and I feel like we getting ready to reenact The Accused starring Jodie Foster.  Not cool.

9.  Move it, bub.

If you get an angle from a pose that you hate or doesn’t capture the lighting in the best way by all means move.  Don’t waste your time with a bad angle.

10.  Don’t be afraid to tip.

Being a model is tough work and many times it’s hard to pay a good one what they’re worth since it’s mostly students and poor artists hiring them out.  That means tips would probably be greatly appreciated.

One of the creature came into my house last night.  I had begun to believe it had all been some fever dream and I did the unthinkable.  I didn’t draw the last few days.  Jeez, I feel like I’ve left the castle gate down with the entire armies of Mordor outside.

I woke up last night and went into the kitchen to get some water, maybe grab a middle of the night snack.  The kitchen is dimly lit by a small light over the stove.  As soon as I open the cabinet I get that feeling I told you about a few posts again.  The feeling outside when you’re inside feeling.  The screen door is open.  I know this because I can hear it banging against the porch railing.  I can hear them outside my front door scratching against the to cold metal.  I dropped the glass of water I was holding and it shattered on the floor.  I didn’t clean it up.

I walked slowly to my computer as the door knob twitched slightly.  I keep my Mac in sleep mode most of the time.  Some say that’s not a good idea but I was greatful I didn’t have to wait the minute it would have taken to start up. My computer is against the window by the door.  I didn’t know if I had a minute.

Luckily, Photoshop was already open.  I started to draw and quickly started to feel like I was inside again.  Here’s the sketch I did in Photoshop.  I’m just messing around with different brushes and playing with tone.  Notice how the different tones of background, giant arrow, skin, and costume separate and add contrast to the image.  Small lesson.  Lay dark tones against light tones and vice versa. Big lesson.  Draw everyday because they’re out there.

I love doing portraits but I’ve never worked very much in charcoal.  The first lesson I’ve learned is that I don’t like working with charcoal on Bristol Board.  I think the paper needs to have more pulp or rag to it.  The only other paper I’ve used with charcoal is newsprint paper in figure drawing classes but even though it’s cheap paper I like it better than Bristol.  I’m going to pick up some actual charcoal paper this week and see what happens.

Regarding that other thing, I have not seen one for a few days and am starting to feel sane again.  Maybe it was all in my head but I’d swear on a complete box of Copics they were real. I’ve been asked to describe them or heck, I’m an artist, draw them but it’s not that easy.  Visually, is just flashing out of the corner of my eye.  It’s more a feeling.  Like you can feel if you outside or inside.  I can feel them watching.  Waiting.  But as long as I’m drawing I’m safe.