Basics Of The Reilly Method For Drawing Portraits

all right welcome back this Kevin became with that who our class and Kevin King studios and today we're going to talk about the Reilly method so a lot of people we're talking about Reilly on the you find on YouTube a lot of different people the talk about Loomis and Reilly and some other systems for creating portraits and drawing heads and stuff like that so this is the Reilly head now I guess Riley didn't from what I understand Reilly didn't write any of his stuff down and so we basically have been given his stuff from students and things and he's had some very very famous students that took from him and from or took from students of Reilly's and so forth and so on and so it can be a very powerful method when you first see something like this it almost it looks a little ridiculous but the thing is the the great thing about Reilly that can even get lost and kind of this weird-looking portrait is that these they break up the face so they are marking different landmarks like the you know the musculature above the brow how it wraps hmm and there's a little dip right here because it connects to the skull there's a little natural dip and part of this the muscle that comes around around the eye and especially on the top of the brow yeah this is the frontal part of the of the the forehead we have the ocular cavities are defined by this the nose the mouth the chin the cheekbones the underside of the cheekbones some plane changes side of the head versus front of the head there's all kinds of stuff and information mm-hmm that you get from the from Riley and so we're gonna show you how to do the Riley method and again it's basically rhythm lines so does that mean do you always break this out when you draw people not necessarily in the beginning of drawing people to kind of help your to help you level up as quickly as possible I would encourage you to kind of use at least some of this I'm going to show you my variation again there's lots of people to have a variation on the Reilly technique and and it becomes somewhere they personalize it like well for me I'm doing this I'm still using Reilly but I'm changing you know this the way I approach it and so we're gonna again we're gonna show you the Reilly method and it's basically the Loomis method is a simplification of Reilly's method and so we'll start with the Loomis head and then we'll we'll build Reilly back into it alright we'll be back in just a moment a little drawing showing the Reilly method and we're gonna start with the Loomis method so we're gonna we always start with and like I said I I believe the Loomis was younger than Reilly I believe he he can't he ran into this system from somebody and then took his he simplified it essentially so we're gonna start off with and start off with a circle right or something a circle like anyways so I'm gonna start with that with that circle like so okay and then from our circle we're gonna go ahead and now if again if we're gonna do this we would divide this in half we would divide this in half again vertically and horizontally if I went I could see if it was actually in half by marking this to there seeing if it actually is half this product should be there that's closer when I split the difference so so this is the halfway point all right and so what we would do is we we try to go ahead and divide this into thirds but mark the halfway point and then come on either side of a little bit and sometimes it's easier to get the the thirds and I could go ahead and yeah that's pretty close close enough so we'll go ahead and see there's our thirds and so forth for this this is the this right here this third now this is the top part so this is actually going to be sixth if I take this whole line but this is thirds from the from the halfway point up and so again this would be the hairline okay so this is the hairline the terrible age but this right here is where the hairline is or the top of the forehead we would then take this distance here and bring this up from the bottom so this should be the same distance okay so we'll just say alright and if we've done this properly this here should be the same distance is that there and this is a little bit at an angle so I'm going to only use this to check it because this is uh recording this it's a little further from me so I'm going to go ahead and just kind of get an idea and it's close it's not perfect but it's close and I think I marked it here we'll just add a little bit and that'll be just about right okay so with this we have this right here this is the brow line not the eye up at the top of the brow this right here is the hairline and this right here is the bottom of the ball of the nose okay so the nose okay then what we do is we take this distance here and we'd bring it down and I bring that down this is now this should be the chin line okay so we're developed this from the from the circle as far as that goes and again we go there to there to there and these should be equal thirds or pretty close to it there's gonna be some variation but for the most part these we equal thirds now what I'm gonna do also right here is with the line the nose line and that and the hair line we're gonna draw up a straight line here and what we're doing is we're acting like we're gonna cut off a slice of the circle because the head is flatter on the side so we're gonna act like we slicing that off and we're gonna take it off of there so we cut that here and we cut this here now if we cut this this has dimension so it's not going to be just a straight flat line that's gonna have dimension so this would become an ellipse and it's going to be fairly in perspective so it's going to be a fairly tight ellipse but that will give us a little so it's a little flatter or the his little flower on the side but it does have some rounding and that's what this ellipse gives us that this ellipse is giving us a little bit of that flatter rounding of the head and I have it around this way as well and so voila so this will be again this will be the side of the head this will be the front of the head so I'm gonna make sure because we're doing a front view that this is symmetrical right to left okay so this distance to here should be the same as that distance to there okay and again it's pretty close good deal okay so now we're going to do is we're going to take this distance and we're going to divide this into thirds so I'm going to go ahead and erase this out of the way and I'm going to go ahead and take that in half and again we can go ahead and check see how close I am by that there and I'm not I'm off of it so I'll mark that this is the distance I'm off so if I split that in the middle that should be the middle all right so just a quick way of getting pretty close in the middle and then we can go ahead and whoops that's probably too far away take either side of this like so and try to divide it into thirds so I'm gonna see hey that would go there but is that still one-third it's a little bit long so I'm going to take this drop this down here so imma take that where's our that there that moves to there and then we're gonna go ahead and that would move to there and that case that's gonna be about just about equal thirds so I'll go ahead and alright that right there is equal thirds now you've already got no we don't if this is equal thirds we should be able to take so if that's you know what we need we should be able to come up here of course this one is not we actually do we're gonna do this one down here so I'm gonna say all right well we're the third is I'm gonna go ahead and mark this off that's one that's two that's three so again pretty close to equal thirds so this we're cutting into third that's 1/3 that's 1/3 this is in thirds that's 1/3 that's 1/3 that's 1/3 but this one up here we're going to cut into fourths so we're going to try to cut this one here in 2/4 you know I'm just gonna double-check this with my little scratch piece of paper that's pretty close it's not perfect but it's pretty close so again we've got this over here usually I'm not gonna sit here and and and get this crazy with it but since we're doing this for you guys we're gonna try to make make it look make it pretty close that's gonna be 1/4 and 1/4 and 1/4 and of course for though you those are you really good you should say well that's 1/4 2/4 3/4 for you know that whole thing but we've got this divided into quarters this divided into thirds and this divided into thirds that's very important for the landmarks we're going to put on here okay we are also going to divide this area into quarters as well okay and that means this goes here zero okay so this over here we've also divided into quarters so this is you know fourths or quarters and yes this should be one quarter to horse record well yes I understand that if I wanted to get in here where I was really working as big and because it's hard to order to work bigger than just to work smaller if I wanted to there's a quick way of doing this where you can mark this off here mark that off there and then you just fold the paper in half put those two together there's two little points so you go ahead and Bend that put those two little points together like so and then just fold it and where I folded it that's now the middle so that right there would be the middle and if I once I could mark the middle I could fold these two and a half I wish I could say I was the one that came up with this but I'm not this lot smarter people came up with this idea much smarter than I am but it's it works and so I'm like well what works I'm using it that's all there is do it why wouldn't I you know use what works but you know quickly divided that in without you know quite the jumping about like we did here and yes I could have done armature of a rectangle but there's gonna be enough lines on here as it is so I didn't want to muddy the water so to speak but yes we could have used the armature a little quicker and I would have gotten to those points a little easier but these are all so we've got four so this is divided into eight all the way across from here to the forehead we've got four from the from the brow to the from the brow to the forehead we divide those into four from the brow to the nose three from the nose down to the chin also three these secrets are very important for the next part we're going to go ahead and lighten these because again we're still gonna have all these different lines going through here and so like you know we don't need more confusion you might say too late but we're gonna give it a shot anyways so we're gonna go ahead and do that now the cool part about this that I really like is first off this first third down here as first search should be our eyeline so this is the brown not the eye the actual first third is actually where the eye is we can go ahead and there's a system of dividing half half and a half for the head and you know we could do that here and that's what we're doing we're going to put some more measurements on here so that we can get some more information now instead of doing this like the way that uh you know Riley Wood says some people say well Riley would do this and rather would do that and a little lot okay so this is these are the eyes in half right well that's if it goes halfway through the eye so we're going to find out that this is it but this is about half way and this would be if we put the eye sort of on the middle of this but this is actually the bottom of the eye so again don't so this right here is our halfway mark right right here so again we don't normally do this we are normally we'll mark this and understand that's gonna be towards the bottom of the eye so anyways we're gonna mark the eye line which is the first third from the brown line that's the eye now from here we're gonna do some where I take the first third from the chin up and the first serve from the nose up and we're gonna do a little ellipse okay and what we're doing is we're defining the muzzle of the face or some people call it the two cylinder okay it's where the teeth are and all that good stuff I'm so we're going to put that in there so this is really important this this little line where we're going through the first third from the bottom of the chin and the first start from the bottom of the nose and we're creating this ellipse okay the next one we're going to do is we're going to come up to this this one-third line and come up to the top of the top of the forehead and this is the frontal part of of this forehead okay or the frontalis for those that want to get into that the anatomy and stuff now there's another a circle we're going to do it's actually not a circle it's an ellipse it's elliptical and this one is going to get a little bit wider and this is going to come through the chin and this goes through the second third just like this this arc right here with the frontalis is going to go through there now in certain people will use parts of Reilly that and others will let other pieces fall by the wayside so it's become really really sort of personalized by different instructors because again Reilly never really wrote anything down as I understand it everything they've got about Reilly all came from student notes and so in some of the notes seemed to be very different from others so you know might have been how would the mood Reilly was in that night as well so we went ahead and we've got this one now truth be told this one right here usually is above this one just slightly so I said that this one does lie in the firt on the second third the second third of the nose this one's usually just slightly above it so I'm going to use the eye line since I already connected that and we'll find out there'll be a slight there's gonna be no there's a slight space between there which is what we normally have if we looked at Reilly you know this is the circle here that goes for the second third and this is again the frontalis for the front of the forehead okay and again I'm not gonna worry about these guys these little tracks are fine for thinking of these are supposed to be different planes of the head as if it was made of sculpture but I find they usually give them I don't normally get put them in there but you know to know about them is a good thing basically what happens is the first line is this line right here arcing around the head and this comes through the outside of the eye and people will use it to help try to mark where the eye is and this other one over here comes down and in our extrude where the the tear duct is and so forth and so on but before we go any further I'm going to draw the brow now some people call this the look for the eyeglasses rhythm because you have a slight you know usually there's an arch to the brow now the brow is that the middle the brow is here but the eyebrows a little bit higher the the actual ocular cavity goes a little bit higher than that it's where the eyebrow is not by a ton but by a little bit so we want to make sure that we've got some of that and so again this looks sorta like the eyeglasses or you know sort of shaped again some people call it which you start to get that start thinking might like that it kind of looks like glasses and that's because glasses follow the natural shape of the head so we've got the we got the eyeglass shape on here and again this is this is the brow line okay right there and we actually divided these into four and these into four and what happens the way this works and the reason we did it is there we go we go in one queer space and that's the outside of the eye we then come in one two and that's the tear duct we come over here this you know come one quarter in that's the tear duct and we go one two over and then that's the outside of the eye so what we're left with is we're left with one quarter on each side and then three equal spaces and when we're drawing the head you want the you can that third eye the three equal eye spaces and that's how we did it we came from this is the side this is the side of the ocular cavity this is the side of the ocular cavity from here to the centerline we divided that into four divided this into four we have eight of them we come in 1/4 on each side then we come over to throw a mark then there's a half and then a half on each side which again is - there - there you know so 6 with 1/4 on each side so it's a really great proportional way very quickly a stablishing the eyes okay the other thing we're going to do on here is going to put the nose because we also have the width of the nose this is one this is one eye space this right here okay so we can bring this eye space down to the nose line and we can go ahead and make the basic nose and again there so we're gonna make it the really simple way to do is when you do an arch now some people will make this a little bit more where it comes around the nose ball the nose and then it comes you know down and then around through that though they'll make a little bit more of a stylized nose we're with you do that or not is up to you and whether you do it or not is is fine you know against this is the whole thing of a variety really starts to get people where they start to use their own personality for this but then we're gonna bring this this has this comes up the bridge and then this turns and it goes on to the brow okay so again we're going to and use use this like so okay now the other thing we're going to do is there's another circle now this comes out it defines the wings of the nose and in the back of wings of the nose that's what this does it's really really nice we didn't do this but this actually comes down into what's called the septum that's that division of that piece of skin between the between the nostrils okay and then our nostrils are in here sometime this is actually the underside of the entire nose is what this is supposed to be and so in here's the nostrils now it doesn't turn the noses and turn the nostrils in the nose turns at the wing the wing comes over here it turns under and then there's a nostril so if we want to we can you know to you know just make the point we'll go ahead and put a little nostril is usually going to be sort of like a little comma shape and you go ahead and put a little no comma shape for the nostril and then this would come out and that's you know the way the nose but the idea is we're not we're not we're not getting with that yet we're going that's jumping the gun so we're gonna but we can certainly do that that's what we're gonna do at some point we're then going to go ahead and put the mouth now again from here this came below the nose line because of the ball the nose is going to be usually you know somewhere between this line and the septum usually goes of the nose usually goes just a little bit below this line not by much but it's a little bit below there okay now we're gonna take this again or divide this in half so if we wanted to and the reason I do that is even though ryley use the thirds it becomes just another landmark so if I divide this in half that's how far off I was divided in the middle so this is the halfway point right there between the bottom of the nose and the bottom of the chin that's that's the halfway point and if I feel I got off I can check this again that goes there that's still not there that went there divide the two okay so that's the half okay so again I took the overlaps and then I just divided between the two and that should be the half so this is the halfway point now this was the halfway point these are supposed to be the thirds okay and if I went ahead and so let's see that's one-third two-thirds and that was three thirds but that was the originally before we put the nose here so this has gotten smaller so I want to take this division I'm going to take this and then come over here which is there and that's okay so this doesn't need to come down a little bit but these are paid these are just about the one-third points from that nose and again the other half should be there that's okay that's all right oh the something I didn't put in here yet so again the first the there's a we usually put this whenever we're doing portraits at least well when I'm doing it I'll put a little ellipse down here too to do the chin now this ellipse goes above the one-third point so these two intersect and what this does this this marks the top of the chain versus the side and then again anyways we've got just above there is going to be the bottom lip from the mouth right usually around the third is going to be the the middle of the mouth and then we can use the septum then to them you know find the top of the mouth and so we're going to end up with something now I'm not going to sit here and worry about wonderful looking features we really didn't I'm not here to do that this is just to show the basics of Riley so we're just going to put something that approximates a mouth now this coming up here is usually a little on the tall side so I'm going to cut this back just slightly okay this is now going to be the middle of the mouth this is going to be the underside for the mouth okay like so okay and then we're gonna have a space there's a space between the mouth right and there's the top of the chin so we're gonna have so we've got again we've got this so I got the channels good stuff now there's something we haven't put on yet that's really important as well with Riley and and I wanted the mouth before I did this and I'm gonna try to also make sure I didn't I didn't put down a centerline - well I did but it's it's very very very light and so this is certainly the time if I'm doing you know the head is all about symmetry and so we want to make sure that we have a centerline so we can check our head and make sure it's symmetrical and that's why you know from here to here we want to make sure that this is symmetrical and it's not so if that's the case I need to go ahead and mark it off so that it is symmetrical so this would come out here a little bit more you know and what this is again supposed to be is this is again the muzzle and so your smile line and your smile lines actually are along this line this this is the outside as you get older you'll get your smile line will they'll be a fold from the smile line over that's what that's that's what that's for but again this is the one that becomes really important we haven't put on the ear and the ears gonna be somewhere between here and the ear is gonna be in the middle of that you know this ellipse here that we put on and so what we're going to do is we're going to do this where we come around the mouth there's the little beam which is the corners of the mouth which are right about here my circle put needs to come out a little more truth be told but the circles those the little beam and then you come up towards the nose and then this shoots out and hits this brow line in the bottom of that brown line not the bottom of where it stops which is the eye line or those two come together and you're going to bring this up and through for the ear now for Riley the year looks silly but this again is just for the the rhythm line okay and I broke through that a little bit that's not that that's more important that this flows into the ear so here wasn't going to hit the air it was gonna actually hit that sort of that you know the top of the ear that was enough so this had to lift that's all right no big deal so again and what this is is this is again this is some of the that the cheek that happens on this on this line you know the top of the cheek is what this represents and then where this comes around and if we go through here that's the bottom of the ocular cavity so there's some really cool stuff that they getting these landmarks so when do the same thing on this side you come over here and we're going to come through this point just gonna go ahead and mark that over there through that point and again we've got that we've got the ear here's going to be between there I'm gonna put a little C curve and again this would come up into the ear come around and around and you're gonna get again that's this little rhythm that's happening I don't think my lip is quite symmetrical well actually it's better than I thought so that's there take this off the center line take this over on the center line okay so something like that alright so again so this is the the basic lip right here and you know again this is just a real basic lip if we got into the lip you'd be like well it's you know it comes up and then there's the little V between the philtrum and you know the other little part of the filter on this you know we could even going you know but for right now you know we're not going to worry a ton about that there's another rhythm that so we also use the rhythm of this circle because again this helps with the cheek we're going to bring this in through here this original circle our head and then we're gonna we're gonna find that the second part of this okay so that comes out there this comes out through there usually I don't push this out this much but I was I was looking over at the Reilly over here to my left that I made me decided but you know what I've never liked I think that I've always thought that first pushed out too far so I'm putting it back where I had it and Riley can just spin in his grave sorry anyways from here there's another one that comes down and comes around and connects down on here okay and so what we're gonna do is now we've got the ear here we've got the head going here this is now the ear comes around this thing comes down now we've got the you know that the the the cheeks are the widest part of the head so we're actually going to bring this down through and come down and I'm just bringing this like a rhythm off the off of this through the brow through here and I'm just imagining again getting wider into that cheek and then we're going to come down into the the shield or in other words the two angles for the head are the two of us with a jaw on the head bring this line across for symmetry let's go ahead and get this side done so we're going to go ahead and come from the ear and again with the Reilly method now I'm trying to modify this because otherwise it starts to look just too much with that ear just it along it all it looks just again too much too crazy so again I was trying to modify the ear and we would these are just for the rhythms if we're like well that's not what your person's ear looks like well then you could come over here and you'd actually draw that person's ear but this is just again for the rhythms we're looking for or we're looking thinking of the cheek or we're thinking of the the mandible or you know the two cylinder I was are we thinking of you know how the cheek comes out here and it comes up and around and down and then curves over through the cheek you know this again do we are we thinking of worthy the the ocular cavity is there's another one that we didn't put on here yet that again the sides of the nose where we come down through the bottom and come up and this is the the sides of the nose and that's and some people will go ahead and turn this into like a little long little pill looking shape again that's sort of the shape of the cartilage again once when you do this you can start to modify this into all the because you have the basic placements of all the different features this is the side of the nose as a part of which you can take a rhythm line from where the nose and this circle come together and you go out and you can you basically merge it at that second point right through there and this is this little bit of bone that goes back in part of the ocular cavity from there you put in the entire eyeball now this is always seems a little strange but remember this is with no lid on okay so this is again that the the eyeball you know lid on it so now some people again will use this as as like a proportion assistant a proportioning system so they'll be like where this this actually attaches the eyeballs which means for that to do that this would have to be higher up and there's some different things like that it'd have to be up just a little bit again I'm using sort of a combination of systems I'm using Reilly I'm using of course we're starting with Loomis which is a simplification of Reilly but I'm also using the classic proportions of half half and a half I'm using the proportions of thirds and the knowledge from drawing the skull and I'm combining all them into getting this to look I'd like to use the word proper make it look good again the first time we see Reilly and a lot of times we're like what do I do with this nonsense it can really help with symmetry as well so if I took this here and again I'm checking for symmetry by measuring where's that I could bring and slam this down you know to the bottom of the chin bring this over so that then I could measure here and check that first angle coming down off of here and I get to enter well that right there should be about where the first angle is and then where it changes direction bring that across that line and this should be a sort of a rounded line coming off of there you know again we can we can use this again for from symmetry and mirroring ideas and and stuff like that and then after we've done that we can actually round the job again I will usually keep the keep the two angles fairly you know fairly straight so that we can get the angles married and then we're gonna cut it off and round it as we come into this into this into this face alright and then again we're gonna go okay and now again the eyebrows of course would be on here we have that we have so we haven't put this on yet but there is the temple and muscle that also helps sort of it helps us with the the temple bone and so we're going to bring this temple bone we're going to bring it almost out to where the ear starts so we're gonna bring that from here come down come over here come down and again this is the brow going across the brow this actually has a little and so there's there's this has this this head uses the thirds for the for the skull this uses the rhythms for the musculature and again everything culminates into a better understanding of of the head now I've seen some people that wouldn't come in here and they'll put it in here that there we have the again there's sort of the the front part of this and you have another part of the head that still is very very round it's gonna round through here you know and then anything over here is actually the is the side of the forehead and so again this is just words go ahead and indicate again this is the original circle circle from the Loomis head this is the original so go from that Loomis head and again think of these as rhythms I don't I have never seen anyone except in a very general way lay this out with true Loomis where they're actually putting all the lines and they may put like three or four the major lines in but I've never seen anyone put all of them and ever unless they're actually learning that again if you're learning go through the motions do ten of these heads like this if you do 20 that's even better but I'll just learn it and then when you're looking at the head you were like oh look at that rhythm oh wow oh wow this is where you know we have we haven't got the second ball or partly where the it comes up onto the ball the nose so we could put that in you know and you can start actually dealing with features if we're dealing with the eyes for instance we're gonna have an arc and this arc is going to come across the eyes over to here so again you can use this arc as that you know as the art you know the upper lid right and then you're going to have another art that tear ducts is going to be in here so then you're going to have a line that lifts up onto there starts here starts just didn't you know and goes up onto there and by doing this you're going to get your three you're going to eat your three angles you know you can have down over down and then you know so you know again up over down you know we've got all the stuff you'd have your tear duct right in here tear duct right in here you then have the the downside of is coming down around that and then it's going to come up into there you know we can start to draw our eye as far as that goes you know again we've got we've got the makings for this face and again we would just this would be very very light whenever you do these lines so you could course could erase these you know then you'd have the the lid over here you know and so forth and so on you know how thick is the lid obviously that there's part of the ball that's covered with fat and other tissue so you know there's gonna be that going on this of course would be the another colored part of the eye as far as that goes and so again this is the these are those rhythms so I'm just gonna go ahead and clean this up a little bit so we can see these you know it's got all this stuff going on here when once I were actually put a nostril on this I will just leave you know this is the whole inner side that's not all nostrils so remember that so but we can again we got these different small planes of the head that we that we've now identified you know some people go up into here from here that gives you that again that bony protrusion there's you know a lot of Bones coming in through here that goes down into there right so forth and so on so again Riley and again it's it's it's really something but when you first see it and I'm really one of these people um one of those types of people or if I don't get it if I think it's complete crap I'll throw it out there even if I and of course that comes direct to haunt you because I can tell you I've had that many occasions see where the error of my ways I used to hear about Riley a lot and the first time I saw it I just you know I blew topic what do you do with that that's terrible it looks ugly and then I had someone fun explain to me like look this is not about a pretty head it's not even the point of Riley point of Riley's to look for the rhythms on the head the muscles that are there be aware of them and if you're more aware of them to draw a better head and I was like hanging well that actually does make sense and it gives you it's like all these little proportions this divided in thirds is divided into thirds of the brow that's divided into fourths that lets you know where to look for the landmarks that's what's really cool about Riley again you're looking for these landmarks because these landmarks are gonna have you know these are these are plans of the head this is going to be going in down the jaw through here you know this is all through here is actually the side of the head now so with and so on this round here's where you get the smile line either smile line is gonna pick up a little bit of a verse curve not this much but again it's just it's just to get you to start looking that's the strength of the Riley technique do you know what you're actually drawing I don't know I'll just eyeball it well it's one of these things where you tuck it away along with okay my understanding is structure of the skull the understanding of a little bit of the musculature of the head what are the bones doing what are the muscles doing what are the rhythms doing what are the what are the proportions doing it's all in Riley it's all there it's not meant to be Oh locality this is a generic head this is still a generic you know sort of it's not an individualized head this is just basic ideas that are happening in every head and it's just that those ideas will happen a little differently you know so in other words not is this is this always gonna be one-fourth of the way no but it's gonna be in the area and it might vary by like in real time someone's real face and might vary like a sixteenth of an inch maybe an eighth at full scale that's not that much if you go smaller than that it's gonna be that close to that landmark so that's what Reilly is about it's about getting used to dealing with these rhythms and then putting those rhythms on the head and looking for them so you're better prepared you know it's kind of like you know someone going well I know what stars are but you're like well do you know where to look for the Big Dipper well no well how you can ever find it or if you're like look here's you look for this land you know look for this part of the sky and this particular star cluster in that particular star cluster and you know you'll find your way to the Dipper well that's that that tells you so where to look that tells you what how you're gonna find it that's the information you need and it's the same thing with again with with Riley it's it's it's giving us the the information that we need to find you know to find our landmarks so that's that's the power of Riley system so again we've got all these different little landmarks we're looking for I'm gonna leave this ear just like this one this is gonna be the simpler side so we're gonna leave this in that so the true price the Riley system and technique I'll go ahead and do this go ahead and do this and again we've got this over here that overlaps there as far as that goes of course we've got you know the piers the hairline so the Riley system I'm a very very powerful way of dealing with the head and in all it all the stuff that happens on the head if you ever wondered about people like oh wow how can they who they've got that little piece here and they've got this tucking and oh look at the way the mouth looks and look at all the always got that little subtle little bump there and how did they how they did it so it's they know Riley Riley was all that wasn't what it's all about illustrator use Riley a lot that's where you usually hear about Riley is for most people to do illustration and they had to really do something really really good as quickly as possible and that's the whole point of the Riley system is it gives you very quick again get you I'm very familiar with landmarks so you can draw much more quickly and and then away you go so again this is this is the Riley method this one right here that I put in is not necessary I'll just lighten this up this was my sort of my my own little addition if you will for that for this system so that's that's not necessary it's just one of those things that I kind of look for it's not a part of the original Riley but I can I think I told you how people will personalize this that's my own personalization of the Riley method when I'm drawing I look for that so yeah go ahead and learn the Riley system it's going to really help your drawing and in so many ways and again then we of course would have a neck coming down off of here and of course someone's neck might be thinner someone's neck might be thicker depending on their age depending on you know how old they are and and I just said ages at night but depending on you know where they're from and ethnicity and stage in life and and all kinds of things will affect you know that sort of idea but this is the basic Reilly method again the big thing we have to we want to remember to divide this into thirds this isn't a thirds us into quarters we had the first third we connect with this so that goes from the first third from the nose first start up from the chin we get this one we then did this which is the second third and then all the way down to the bottom of the chin right we did that one we have this one that actually is just a little bit above is kind of through that eye area but you know this one was again just above that that first third and then comes up all the way to the top there we then put the brow line that again that we came up here and touch touches goes above the brow just a little bit and then it dips down and it comes just over the brow again just to bust the bread lines right here this doesn't come up above it too far but it does a little bit okay we did that this was the first third is the bottom of the eye which right here was my as you know always again that sort of that first third somewhere you know right through there actually is right there truth be told but anyways and this we had divided this into four divide this side into four came in one fourth then we two fourths so that left us one fourth and I'd each side which gave us two spaces for the eye we did the same thing here as a fourth here and a fourth here we put two here but that left us one on each side which gives us two two and two three I spaces we then marked it and once where the eye spaces we could bring down here through the nose we did this little which is kind of like almost like a double triangle sort of thing with a little dip in the middle and brought the bridge up you know onto the brow come a little bit as we as we do that right we brought this little circle which comes from it starts at about that first third and it goes up to the second third and it's just a little which is again this is these are the sides of the nose that's what that is supposed to be we then said okay we got the our third cavity here with and said let me mark the mouth and remember the mouth was this is the halfway point which is about the bottom of the lid through here okay and we said well the first third which was just a little bit above this is usually where the mouth is but because the nose came down a little bit from this and this drop this just slightly which made the middle of the mouth drop just very slightly as far as that goes right here again they don't have this in a lot of it in the Loomis but getting between here is gonna be the philtrum that's a landmark so I'm gonna add that that's a very important landmark to to the mouth is the philtrum that little tie shaped space that comes down from the nose because that tells us where the upper lip is and then we got the bottom lip now I am doing this a little in perspective this bottom lip looks a little funky but but I'm anyways so we've got this this this bottom lip here this seems like this is coming down too far there's like a little bit of a reverse curve in there but you know most people it's very soft some people it's non-existent other people it's very clear just again it's one of those things it depends on how much fat people have in their lip and the way that the fat wraps the muscle on the way the skin wraps that it's all a little different there's a little shelf below here again this this is a circle that comes up above the first the first third a little bit and usually this is just a mark the chin usually the chin is a little bit it's not quite that high we said all right well then I marked the mouth and we put in the arc here in the arc and the arc here and that's what we come to the halfway down from the eye that's where the again where the little nodes are you know the little sides of the mouth the scale is just a little bit too far out but we went ahead and took this from the side of the mouth and they came up here into the ear we had marked the top of the brow the bottom of the nose that's where the year was I put a little C curve on there and that just helps me to kind of you know find that get that curve going this is supposed to be the top of the ear the little ear band and so this comes down through here arcs down and picks up through this little circle this arc down through here now Loomis and and Sun and and some others if I if I brought the tear duct down through here and then brought brought this up this would then be this would be actually the side of the face it comes the side of that just a little bit of the side of the chin then it comes up around the author cavity comes up the you know it comes up through here which is again the you know you have the front of the cheek so it comes here around goes around the front of the cheek and this is all the side of the head come the side the head actually comes down into here it can't wait so this comes around it wraps and then it kind of comes in here like so again this is this is a modification but again it's actually what is happening on the face as we get as we get used to it you know but this is again a great a great jumping-off point for getting all these little planes and micro planes and all this sort of stuff put together on the head for the Riley for the Riley head now this is again well this is in front of you well did the Riley of you head again probably was a little low not quite so much in depth instruction but we'll do it from the from the the 3/4 and and and the profile and how this then you know works and those other those other views but again this is this the Riley system so enjoy it try to replicate it do a couple of heads look for your force your thirds and your thirds place here you know divide this to the center line for this is the center line for come in 1/4 then go to quarters and then leave the last quarter between that and the center line come in 1/4 take two quarters leave the last quarter their line and you'll have two quarters two quarters in two quarters and you'll have again the equal eye spaces and if we did this right we'll have another eye space just to there so again we've done part of this is the AIA the years are just way too prominent these years would come in considerably and that would give us five eye spaces we'd find out oh yeah five eye spaces so again this is just this is just another idea of helping us understand and helping us draw the head it's not the end-all be-all it's just to get us used to rhythms but it's one more tool in our toolkit they'll help us draw people much better the little circle of the icon is obscuring everything so I'm kind of clearing it out of there a little bit so they can that's the Riley technique enjoy it use it and you'll have you know some really great success take care now be more creative bye bye

Channel: KevinMcCainStudios

Views: 69,254

Keywords: How to Draw the Head, Head drawing, Reilly Method, Reilly Head, Reilly Head Drawing, Rhythms for Portraits, Portrait drawing, how to, draw, head, drawing, portrait drawing, how to use Reilly method, drawing portraits

Id: xP3tltoRb8Q

Length: 59min 57sec (3597 seconds)

Published: Mon Apr 20 2020