The Frank Reilly School of Art


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The Frank Reilly Teaching Program and the Doug Higgins biography.
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The Entire Art Teaching Program of Frank Reilly
by Doug Higgins Actor/Artist, Reilly Student
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Frank J. Reilly as a young teacher at
the Art Students League.

Mr. Reilly when I knew  him at
the Frank Reilly School of Art.

 

 

 

 

 

 

 

 

The teaching program of Frank Reilly consisted of communicating an accumulation of knowledge and skills beginning with the elementary and building to the complex. He primarily taught the craft of drawing and then painting the nude figure. Each step in his lectures followed logically upon the step which had been previously taught. His students moved forward in their learning with a degree of confidence as skills were accumulating. The lectures included drawings on a blackboard and always began with something humorous. We continued to attend lectures while in the painting class. There were no grades and the length of study was decided by the student.

Mr. Reilly contracted to write four books that were neither completed nor published which is the reason for my undertaking this project. A complete survey of his program, if it existed, would be far more extensive. “The Frank Reilly School of Art” is an honest account of his teaching as I experienced it during the four years or so that I was his student and monitor during the 1960s. It accurately describes the substance of his teaching.

– Doug Higgins

“COMPOSITION” by Doug Higgins, based on the teaching of Frank Reilly.

Click here to Preview & Purchase “composition” by Doug Higgins.

"Compostion" by Doug Higgins

 

 

 

 

 

 

DRAWING THE FIGURE

The classes were from seven to ten o’clock each weeknight and included a ten-minute break every hour. The time was kept by the monitor who called the poses and kept order. After a pose was called students were not allowed to enter the room and disturb the class. The poses were five, fifteen and thirty minutes in length beginning with the fives. A nude model was on a model stand two to three feet high and the male models wore jock straps.

A floodlight was placed a few feet higher than the model and directed at about the center of the torso. The placement of the light was such that the entire figure was about 3/5 in the light for the the forty or so students. There were three rows of seats and the row farthest back was elevated. Where the students sat depended on arrival time and preference. The monitor sat in the middle of the first row.

We drew on 9″ x 12″ sheets of loose, smooth newsprint or tracing paper, with a kneaded eraser within easy reach. The paper was secured by a clip at the top of a masonite support. Using a razor blade and fine sandpaper, we fashioned a chisel edge on a 4b or 6b charcoal pencil which kept its shape due to the way it was used during drawing…

 

 

DRAWING INSTRUCTION

Hold the charcoal pencil thumb up swinging the wrist and arm to create a graceful line and rest the fingers lightly on the paper. When holding the pencil as if writing and moving the fingers, it can be moved only a few inches but when holding the pencil thumb up and moving the wrist, the range of motion is greatly increased. I began to think of drawing as similar to dance…

 

 

 

 

Sit with the drawing at a 45 degree angle supported on the back of a chair…

 

 

 

 

 

 

The pencil is in motion before it hits the paper (sometimes with a few mid-air test swings). Draw in a downward motion initially using the “fat” portion of the charcoal for a light wide line. Twist the pencil and use the edge for a sharper, darker line or tip up to the point.

MR. REILLY’S SIX LINE FIGURE

The six line figure is not the way to draw, it’s the way to think…

 

 

 

 

 

 

The axis, #4, is an imaginary line through the center of the figure which appears to be straight when viewed from the front. Side view…

 

 

 

 

 

 

The abstract figure becomes more life-like as anatomical features are added…

 

 

 

 

 

 

Mr. Reilly’s six line abstract figure is the way I was taught to think about the relationships of the various parts and proportions of the figure when drawing. I would initially visualize the abstraction and draw with a wide light line and then, as the drawing progressed, adjust more closely to the forms of the model. As I became more certain of placement the lines became darker and more committed…

 

 

 

 

 

 

 

 

One great difficulty is the tendency to, ‘tack things on.’ Which is to say, parts of the figure are added to parts already established and the relative lengths and placements are misstated, (frequently due to the model moving). This was overcome by imagining the abstraction and ‘seeing through’ to visualize attachment points, the lengths of body parts and┬átheir positions in relation to one another. It was not necessary to ask the model to move to the original position.

 

 

 

 

 

 

 

 

 

BEGINNING A DRAWING

In a standing pose with the weight on one leg, I knew about where the head was, the feet and the center of the figure so I began with these, (known quantities). Related to the head, I knew about where a thrust out hip was, the other hip in relation to this, the angle of the shoulders, (with the rib cage), and so on…

 

 

 

 

 

 

RELATIONSHIPS

 

 

 

 

 

 

Action is the direction of the movement of the figure, initially established with a wide, light line.

A line comes from somewhere and goes somewhere. I formed the habit of constantly looking for relationships when drawing, making certain every line was in relationship to something else.

By first indicating the head, then the center, (crotch), and then the base, I didn’t draw from the top down and hope the feet would be on the page.

A drawing isn’t exact so mistakes were made on the side that would help, eight heads high instead of seven, for instance.

The word relationship in this context means that the position of everything on the figure was found by finding imagined connections.

“Relationship” was the word most used by Mr. Reilly, (drawing and painting) and was key to placement, shape, balance, proportion and structure.

DRAPERY

Art school drapery studies. The cowboy and the man with the sunglasses are from photographs…

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

When drawing a figure with clothing, be conscious of form, action and tailoring. Think of supporting surfaces, gravity, pull points and structure based on the six line abstraction.

Drapery is used to design a figure and is mostly fairly straight lines and the shapes of folds is generally triangular.

 

Keep drapery on the form underneath…

 

 

 

 

 

 

 

 

HOLDING A LOCAL

 

This demonstration piece shows a White, a Gray and a Black cube. These are their local values. The White cube is lightest in the light and the shadow, the Gray cube is intermediate in the light and the shadow and the Black cube is darkest in the light and the shadow. These relationships remain constant on the three visable planes of the three boxes. The cast shadows do not change. A simple way to say this is that… a White box will not be Black on the shadow side. Holding the relationships of the values (and color) true in both the light and the shade is called…’holding a local’.

 

 

ADDITIONAL TOPICS COVERED IN THE BOOK

(available at www.virtualbookworm.com)

STRUCTURE

DRAWING IDEAS

SIX LINE FIGURE IDEAS

Male Female

Negative shapes

Motion

Station points

FORM

Cross Section

Related forms

INSIDE LINES

HANDS

CONNECTORS

Twist

Joints

ANATOMY

Muscle groups

Bones and muscles of the head

FORESHORTENING

Light and shade

Shadows are…

PROBLEMS

PLANES

Procedure

Planes of the head

FEATURES OF THE HEAD

PERSPECTIVE

One point perspective

Two point Perspective

Three point perspective

PICTURE MAKING

Tipping

Overlapping

Black, white and gray backgrounds

General abstract ideas

Color abstraction

Color choices

Composition ideas

MUNSELL COLOR WHEEL

Simplified color wheel

FIGURE PAINTING

Art school palette and supplies

Color charts

Required paint, their values and chromas

Yellow/red chart

Wash-in for figure painting

Lay-in

Order of importance

Order of doing

Edges

Steps

A figure painting is most dependent on…

Effect

Complexion

Graduations and progressions

Finishing

LANDSCAPE

Types of illumination

Four light conditions

Palette

Range

Atmosphere

Landscape color

Recession

Sky

Clouds

Trees

Water

Mountains

ACKNOWLEDGEMENTS

To Frank J. Reilly, my undying gratitude for lighting the way and providing an excellent example of how to live a life.

Rudy Hornish had been a professor of English at Seton Hall University before he came to work at the Prudential Insurance Company where I first met him. We both became New York actors and stayed in touch over the years. Rudy eventually became an Executive Producer with Paramount Pictures. Thank you, my friend, for your guidance and encouragement.

Charles Movalli, is the editor of number of fine art books and former contributing editor to American Artist Magazine. Charles is an accomplished and gifted artist as well and a friend. Thank you for your helpful and needed editorial advice and content suggestions.

Candido Rodriguez had been the monitor of the drawing class when I first enrolled in the Reilly School. He has been of great assistance, supplying me with details missing from my Art School notebook.

My appreciation to Susan McGarry, former editor-in-chief of Southwest Art magazine who began this project by suggesting I write an artist statement and recommending a list of possible headings.

And, for your interest, thank you! My great hope is that you are finding my books worthy of your time and of assistance.

Fare well!

Doug Higgins

Doug Higgins and Whalley – Photo Bill Hudson