All right, we're going to talk about the planes of the face and the Reilly abstraction. Before I do I want to dedicate this lesson to Glenn orpik who was one of my teachers. He was a great teacher. And he's since passed on. So he taught me so much. And I just want to acknowledge Him and dedicate this to him.

So thanks, Glenn. We've talked before about squinting and comparing and to reduce the complexity and find that the shapes and so if you open your eyes wide open, you get this right. If you shut them down almost all the way you get something like a what a bad Xerox sees, right? And here's something in the middle. So we're going to move on to kind of the structure so this is the shapes and You know, using the 2d is what the camera sees, it doesn't know what it sees. And that's what we're looking for in this space.

So, now when we go to the, the structural phase, okay of the planes or the rhythms, we're just going to do the planes today. But it it's a way to get your foot into the door of the drawing, so to speak. So right, the camera doesn't know what it's looking at. It's just mimicking light and dark patterns. So if the best you can do is just mimic light and dark patterns, you're only going to get a good copy. That's going to be the best thing you can get and have and your job is to make it better.

It's like copying Chinese. If you don't know how to speak the language. The best you can do is Copy it exactly. But if you don't know what it says you won't be able to communicate anything. So the planes and the rhythms help help you take the 2d shapes. And ask yourself, you know, how do I make it better?

How do I make it clearer? How do I make it less confusing? What can I do to give it more structure, and so on. So just doing the two dimensional shapes, get your foot into the door of the drawing, but it it gets you started in the right direction, but it won't get you a finished drawing. But it's a great start. So pushing the idea of the plains is a great practice and it helps to remind you where you're going and to stay away from copying.

Okay, so I have to do this. And just to brush up on it, and again, keep myself from copying. The best way to do this is to look at a photo and use that to point out the planes and the rhythms, so let's do that right now. So I got a piece of trading paper, tracing paper. And I'm just gonna use like a big, big marker. So as I look at the plane diagram, and I look at my photo, just gonna try and find where I find the planes, right?

And you can find the planes either by the light and shadow division, right, that's where the front plane meets side plane. Hi, and I'm just looking for a simple structures that can find on the human face on the model right right there where the nose meets the cheek, it doesn't jump out at you, but I can go ahead and define it there. Right, I can see eye sockets in the cheek, right and then down into chin box. Right. And so I'm relating the two, I'm really relating this abstract chart to something real. And that's going to help me when I get in front of the models, you know, so I could see where on this nose, this is a top plane changes to an underplay right, top plane, side plane.

This is just go ahead and put that stuff in. in there, don't worry about anatomy and eyelashes and nose holes and stuff just go for these big broad ideas. Right? So where would I find this, this connection from the cheek back to the jaw, right and separating that back half of the job from the front half of the job would be, you know, somewhere here and going back like that. Okay. It's helpful to do this because you can see real clear front real clear sides, right?

And you can just construct this and then space in place the features where they belong. And you can do this just like I'm doing With a big marker, you can do with charcoal pencil, right? It doesn't matter, you can do this in Photoshop, just as long as you do it. Right and get this in your visual library in your muscle memory. Once you do it, you'll never not see it. When you look at a face, you'll never forget the idea of this, the planes of the head and the abstractions when you see someone's human face, okay.

So for example, I can take this idea of connecting from the septum up to the nose, down to the chin to find where the chin changes direction from front to side. Right, and that goes through that basically shows me a true front, the front of the face, as opposed to a plane turning away. Right It goes through the peaks of the upper lip. It gives me that and then gives me where the lower lip that w kind of has its peaks. And then again it shows me where how wide the jaw is on average. Right.

So this this part is is true front. Right? This part turns away. I can just give that little tone there. Just to highlight that these parts turn turn away to different planes, right and that gives me that illusion of structure. Right.

And it shows me where if I didn't have any light, you know, this was all from memory from imagination. You know, I can put down where that shadow would be and it won't be guesswork and smudgy and then make my drawing look like Max, you know, I know where that shadows gonna be. If my light is coming from, you know, tops right. from the right. Right, I could shade those eye sockets. I could shade this side of the nose.

Okay, I could shade shade where that chin starts to turn away from the light Okay, now on women, you can't really get away with john a bunch of lines and a bunch of hard edges on their face on there, you can't show a bunch of plane changes. So we're looking here at Andrew Loomis. And you'll let's say you had let's say you had a box or a house. Right? And it was you're looking at the corner of the house. And it's being lit evenly at the corner, so there's no value change, showing you the structure.

So how are you going to show the structure on the house where you're going to draw The things on the house right the door window. Right, you're going to use the details on the house to help you describe the dimension in the plane changes. So same thing, like with a woman space, you're not going to draw a bunch of hard edges and box like structures on the face because their skin and faces is smooth. Right? That's what makes it it pretty differentiates it from men in most cases. So what Loomis has given us here is he's lining up you know, he's showing you the plane changes with like the features like the eyebrows.

That's where that plane changes, right? He's giving it to you. Here's same thing We're looking slightly down on this head. And we can tell that because we have that corner here, right? Where the forehead meets the side plane of the side of the head of the temple, right? And then we've got that constellation of that front plane going this way, and beside plane going that way.

And those two things, I can line up the eyebrow with the top of the ear. And so it's that idea of the box, right? I'm using this plane a and this plane B, I'm using these descriptions to tell me that we're looking down on this. So same thing. With this we're showing off the box and we're using some minimal feature, we're using the feature To show us where the points are giving us enough information to show us where the plane changes. You can see it's giving a little tone here to show the cheek turns under.

But not much information here. You know, he's lining up the nose here with that year, right? We've got that and so we've got the ear and the nose kind of showing us that we're looking slightly down because the ear is higher than the brow and higher than the nose. Okay, so you can do that whether you're looking up or looking down. Or you've got that same idea of the box, you've got these two planes with this inside corner and they kind of conspired to conceive that corner by lining up cross contours along the front front of those planes, you could play in a plane B, and you can put in an ear here. And you can put in a sense of, you know, the eyes here.

That's gonna give you a sense of that we're looking up on this. Okay, we're looking up on that head. We can do it pretty, you know, pretty easily, pretty quickly, but that box really helps us, you know, get there. Otherwise there's a lot of, you know, the guesswork. Okay. So do these exercises, do them until it kind of gets into your, into your mind.

You can see here on this shot, even the shine, right if you look at the shine so we always look at the shadow to tell us where the plane changes are on the core shadow but the shine also tells us where the plane changes are the shine is there for a reason. And so the highlights also tell us where plane changes are from, you know, front plane of the nose to the side plane. Okay. That's important too. So, we're just getting the ideas from these. From this practice for distilling out the plain changes really clearly.

And make sure we're just getting you know the information that is front plane to To an under plane, it turns to kind of a top plane, front plane and down to a side plane. Right, we've got Front, side, front, side. That's the kind of good stuff we want to get out of this. It's a diagram. It looks ugly. It's not a pretty drawing.

Don't worry, you don't want to make pretty drawings. You're getting tons of information from this exercise. And when you put it into your real life, drawing, and character designs, it's going to be you're going to be amazed at how quickly things go, how good you feel, how confident you feel. You have that confidence to construct So I've done this planar analysis right using the plains of the face. But you can also do the same thing with the rhythms with the, basically the Reilly rhythms here and you can see I've done it here. Same exact thing, tracing paper over the top, and just finding the rhythms that have my chart here, and I'm looking forward on the model.

It's great stuff. I hope this helped you and I'll see you in the next module.