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Draw Using Reilly Rhythms

Draw Using Reilly Rhythms

I’m Tim Gula and I’m here to
introduce you all to the Reilly method and how it’s broken down and applied
in your drawing. Stan: Tim Gula studied under Fred Fixler
who studied under Frank Reilly. I met up with Tim to watch him do some
quicksketch using the Reilly method. Enjoy. Tim: I begin my drawings by first, like,
taking a good, what I’d call visual gulp, of the model and the pose and try in my
mind’s eye to like break it down into its most simple and visible diagram. First,
I’ll start off with the head. I always start off with the head because
that’s where I’d begin in my proportions. So I have a proportionary guide to keep
everything to scale. And then I’ll start by making features.
I keep the shapes very simple. The angles of the skull for like the
cheek, neck, shoulder, and I’ll apply like say even the line like
that for the shoulder to help the pose become more discernible.
See these nice flowing rhythm lines rather than kind of like a jagged,
like most people draw with. Instead, we’ve been taught to like have
these nice flowing rhythm lines because that helps the pose become more
convincing. All these things kind of like start to work together to make the
pose more recognizable. See how I just use like the nice,
smooth rhythm lines? I don’t get… I try not to get hung up at this point.
I try just to establish the pose, the shape, the weight, the rhythm,
all the things needed to make it natural-looking. The breast line.
See how I make a circumference like that? And think in terms of like it being like
rounded. Use the rhythm lines to help establish that. It’s like a blueprint.
What you put down initially is just to get things… the ball rolling and then
when you come in later, you’ll notice where it really ought to be
or not and then you can just make the necessary alterations. It’s okay.
Keeping it simple, nice and simple. All I’m interested in is placement
and also proportions. It takes a while to get there. So do not be discouraged.
You just got to hang in there and the more you do that, the more the information
becomes clear and available to you. This kind of drawing that I just showed
you, this automatic life drawing workshops is very important because it keeps your
sense of who you are intact. If I could pass on a message,
it’s that and keep practicing and make sure your heart’s in it completely because
then you’ll see that its fullest benefit available to you. All right.
So I’m going to try my best to describe the rhythm lines and how they are used
in its most basic and practical way. Okay. So when I draw,
the first thing I do is I look at the model and I break down the model’s shape
into, in my mind, like, lines and these lines are rhythm lines and what a rhythm
line is is a line that has a nice flow that kind of compliments the form and the
action that the model’s taking. So, for instance, what do I mean by that?
Like I’ll start off with the head and I’ll just make a diagram impression of the
head. Now, I have the head to use for the size proportion of the rest. Then,
I’ll have the neck. Okay. Now here’s where the rhythm line
comes in. So like say the pose is a back view and it has a slight twist.
So I’ll go where the shoulder begins. That would be the arm.
Then another rhythm line for the forearm. Then back up towards the shoulder
connecting to the torso. And here’s another rhythm line, see,
where the back would be. That forms the torso and the ribcage.
Then where the forearm is on the waist. So these rhythm lines,
they’re kind of like, you want them to flow because then that
way, you capture the action more convincingly. Like a fashion
drawing, almost. Stan: How is it like fashion drawing? Tim: Kind of what you don’t see much anymore
but like say the art of like Rene Gruau who kind of was an inspiration to my
teacher, Fred Fixler. His fashion drawings have these nice, kind
of flowing rhythms, it’s almost like the fabric just naturally drapes over them.
You just have to get used to like being able to create like these nice, flowing
lines and that takes practice. But by watching like this video and seeing
how I apply it, you’ll know what to practice and how to help you become
more competent and confident with something that at first is going to
be probably intimidating and confusing. But just keep the shapes simple,
keep the rhythm lines clear and nice and flowing. Then you start applying the
other parts of the figure. But first, you have to have the armature,
the figure itself broken down nice and clear and that’s what these rhythm lines
help establish. Start off with the head. See also how I put the ear on the side,
so I have a nice idea of the circumference of the head and the face.
I give myself landmarks like that and when I say landmark, it’s like I’ll put the
nose in a certain place or the ear and then the cheek. Everything I can do
to help make the figure more obvious and discernible, little cheating tricks.
And see even like where I would imagine that the model is…the weight is shifted.
So this shoulder would be more risen than the other would which be more lowered
which would create that balance and then, once I have that, once again,
I’ll make a nice rhythm for the torso. And see, I’ll put in a line like that
to show where the ribcage ends. You have to practice looking carefully and
understanding what you’re looking at. Once again, getting those shapes nice,
clear, using those rhythms to really show the action and the shape of the action.
At first, just make the shapes simple but clear so you can come back later
and make them even more definable. The real secret though to all this is
through practice. There is no way that you’re going to just get this all of a
sudden. Well, maybe there’s someone out there that might have like an amazing,
miraculous advantage. But the rest of us, like, say me, had to spend a lot of time
understanding this. It’s kind of like a hieroglyphic language.
It’s hard at first to understand what and then, you begin to understand what the
image is and the shapes make and then, you’re able to follow and that’s what kind
of is going to happen here and an intuitiveness then becomes more and
more available to you and somehow, you start knowing and you’re not even sure
how but just by looking, the recognition takes place and like,
“Oh yeah, that’s how that came about.” My career as such started in 1980 and it
was started at Hanna-Barbera and that’s where I met a guy named Alex Toth who was
a pretty darn good artist himself. And I started by drawing concepts to weird
science fiction type shows and there, I went from there to Bakshi,
working onFire and Icewhere I met Frank Frazetta which was an uninspiring
film but it was great experience and especially working with Frazetta and from
there, I worked at Disney onTheBlack Cauldron. I started working at DC
onSupermanandMartian ManhunterandThe Spectre. And the more that you
practice this wholeheartedly, the more you’ll believe in yourself and
what you’re capable of and then kind of like a magic takes place.
You start doing things that you didn’t think possible. See?
And then you get this stuff and that you tuck it away in your memory banks and
then, when you’re doing like a future project, all the experiences from,
like, say, that you’re obtaining now, they become…they come in handy later on.

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100 thoughts on “Draw Using Reilly Rhythms

  1. I prefer the Reilly method, but it's hard to find instructions on it. For portraits from imagination, and even from reference at times, I use this method since I can see the proportions easier.

  2. I've found something special… something I've always wanted to learn but didn't understand. Thank you for making this and bringing Mr. Gula on your channel.

  3. Personally I don’t draw any outlines ,but draw inside ,concentrating on the form and shapes , exaggerate the essential and leave the obvious vague .

  4. this is great! It's the third time I'm watching this! every-time it boosted my figure drawing for like a day but then the next day I lost it again.

    Does anyone know what pencil he is using?

  5. Am I the only one this would drive nuts, because it's so sketchy and its deceiving it looks so easy but it's super hard and being this sketchy and loose shouldn't be so hard.

  6. I loved this one!!!! Going to watch it again right now! Those Dior illustrations are what I've aspired to draw like forever! My fav. Proko episode yet! Thank you!

  7. Just to make things clear (I'm stupid)

    The Reilly Rhythms method is:
    1) Keep your form simple
    2)Make the lines flow so in a way they would compliment the form?

    Is this what am getting correct?

  8. I don't often subscribe to a channel but I really like your content, very helpful for advance and beginners like me 🙂

  9. Hi, as an absolute beginner can I follow this…was tryin lumus for head….am I jumping to far at the moment.👍🏴󠁧󠁢󠁳󠁣󠁴󠁿

  10. One thing is the pencil…I draw with my wrist…your using your body….Jesus man..🙏👍🏴󠁧󠁢󠁳󠁣󠁴󠁿🏴󠁧󠁢󠁳󠁣󠁴󠁿🏴󠁧󠁢󠁳󠁣󠁴󠁿🏴󠁧󠁢󠁳󠁣󠁴󠁿🏴󠁧󠁢󠁳󠁣󠁴󠁿🏴󠁧󠁢󠁳󠁣󠁴󠁿

  11. Thanks Proko! It’s so wonderful to see these great videos. I took a figure quick sketch class from Tim Gula for a couple of years in Thousand Oaks. He’s prodigiously talented, dedicated, inspiring, and really funny. He’s also pretty stunning at head drawing. I’d love to see more from Tim. I also took Glen Orbik’s head drawing class there. What a privilege to learn from these great teachers. I miss that school so much. I will watch this over and over.

  12. This guy has a lot of wisdom, I think a lot of people assume artists have some type of innate power to create realistic imagery from their mind with no effort, which completely overlooks the ammount of time and work that goes in to learning how to draw and observe, and its the observational aspect that is the most important IMO. An artist doesn't learn to draw, they learn to see.

  13. "Fire and Ice" is one of my fav toons. I grew up watching it over and over in-between iterations of my other childhood favorites. I don't understand all the hate people seem to have for it.

  14. TIm Guia sounds so much like John Malkovich. When he is off camera it's almost uncanny, especially when he is really trying to convince you to keep practicing to get to this level.

  15. I think what he’s talking about is golden ratio applied to angles and proportion of the drawing. Would have loved a better explanation. Constantly repeating “feel the rhythm” adds nothing of value imo

  16. It is really nice to have an industry veteran demonstrate how he works, be realistic about the time and effort it takes, but still manage to be encouraging.

  17. I wish he would draw males. They seem to have a different structure but I get what he's saying. I've been doing something similar but by pure observation. So I make good "mannequins" and then lose it in the details. 🙁

  18. I could follow Tim around like those kids in cartoons and movies following their hero around, copying everything he does, repeating everything he says, and saying to him "I wanna be just like you!", you know, just doing errands, doing his laundry, making him coffee, that sort of thing…

  19. This dude is Zen. I love this dude. Like legit love his whole personality. The way he talks feels like me and that shocks me because I'm a 27 yr old Afro-latina. It's strange to have a connection to someone who us a stranger and from another generation and culture. I want to meet him.

  20. There isn't a lot of resources on Reilly method of drawings be it figure or head. I'd like more tutorials on Reilly method by this chap, if possible. There is something so calm and reassuring about him that no matter what you can get better at drawing even if you aren't that great

  21. I truly feel compelled to thank you, Proko. Your channel re-ignited my love for art and never fails to leave me inspired. Watching and listening to Tim work and his insight on fashion design- if you'd have asked me this time last year, I'd have never imagined fashion design could leave me with my mouth agape, Rene Gruau's art was utterly breathtaking.

    This probably hasn't come out half as legible as it feels to me and in some ways it's more of a therapeutic open thank you letter to art in general and how much I feel its helped me develop as a person.

  22. I watched another very successful but VERY mediocre YouTube artist try figure drawing and it was basically a crash course on everything you don’t want to do when sketching and studying the human body; jagged unconfident lines, drawing way too dark too early 😖😖😖 people were using that as a guide! I had to come here as a palette cleanser.

  23. As usual ,talented artist make it look sooo easy! Your comment repeating ‘practice ‘ helps would be artist see how not to be afraid and go for the flowing lines with more attempts improving all the time. Thanks….I’m away to keep trying! And thanks for your time showing us all! 🙋🏻‍♂️👍👏🏴󠁧󠁢󠁳󠁣󠁴󠁿

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