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Thread: The Frank J. Reilly Papers
December 26th, 2010 #14
Man I just noticed this in the stickies. This sounds like it could be some real serious shit.
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Hide this ad by registering as a memberFebruary 5th, 2011 #15
In his post, "The Lay In" he writes...
The paint mixed and put down are called averages.
The correct averages make a condition called the poster.
The averages are the local condition in chiaroscuro (light-shadow)
-so each local is to be mixed in light & shadow
-the poster is the look of the chiaroscuro together as a pattern.
February 5th, 2011 #16
The local is the actual color of an object/surface, irrespective of lighting. So, the local for a model's skin might be a middle/high value, medium chroma orange, or, in Munsell terms, YR7/5. The averages are the big value areas that establish the lighting pattern, and that smaller variations in hue, value, and chroma are related to. So, for that same model, in standard 3/4 studio lighting (what Reilly calls form lighting), the shadow average would be a value 3, and the light average would grade from value 8 to value 6 (there are ways of figuring out these averages for different lighting conditions). Once the averages are established, other modeling factors, and hue/chroma variations, are built on top of them. Essentially, it's taking the same concept of working big to small/general to specific that should be familiar to most people in drawing, and applying it to value/color as well.
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February 6th, 2011 #17
So if the model was 200 ft away, you could paint the locals under the lighting condition they're in, let's say the whole face one color YR 7/5. And when the model get's very close you would want to paint the averages, the detail, so to speak?
And not to sound very dull, he said, "The correct averages make a condition called the poster.". I assume he get's this idea from actual old posters?
February 7th, 2011 #18
Yes, shapes of color to capture the big plane changes, values first, then hue and chroma, then edges and details. Here is a picture of the value poster from Faragasso's book A Students Guide to Painting. Faragasso has taught the Reilly method now for 50 years and worked as Reilly's class monitor.
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March 25th, 2011 #19
heres an explination and demo for the term "poster" by tony ryder (student of ted seth jacobs (student of frank reilly)) http://underpaintings.blogspot.com/2...iv-poster.html
 i just noticed ive been linking to the same blog a link to started this thread... great blog indeed
Last edited by sone_one; March 25th, 2011 at 06:56 PM.
April 4th, 2011 #20
April 10th, 2011 #21Registered User
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oh no!I can't open the wbesite
December 2nd, 2011 #22Registered User
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I would strongly encourage people who are interested in this material and who have visited the site to leave comments on the blog. That way, the extremely generous fellow who is putting up this information recognizes how much his work is appreciated. After all, he is only being paid in appreciation.
So leave comments for him, thanking him, so he knows we're out here.
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January 8th, 2012 #23
Man, that high chroma chart in sunlight seems like an awesome exercise.
May 29th, 2012 #24
For those who are interested, I recently spoke to John Ennis via facebook and thanked him for the blog. He told me he hopes to update it sometime in the Summer, so hopefully some more of Mr Reilly's papers won't be too far away.
July 23rd, 2012 #25Traditional Artist
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September 27th, 2012 #26