Reilly abstractions

>>2881565
It's basically just a more complex version of those other systems because it takes into account more planes and anatomical features. The real strength of it is how it relates all these features to one another so things are symmetrical and solid and in proportion. You should be drawing from one side of the face to the other and relating them constantly. Honestly I feel the example you posted is not doing it very well at all, and in fact many of the rhythms they drew are done in tons of small lines rather than longer gestural ones. The system is meant to be a combination of gesture and structure simultaneously.

That said, it can quickly become very bloated. Just look at Jack Faragasso's book and you can see it becomes needlessly complex for no real reason. Many people who use the method end up discarding a lot of it, I know for example Jeff Watts only uses a fraction of the construction lines, and even the ones he uses he doesn't always draw in but rather will "ghost" draw them by gliding his pencil over the line but not having it touch the paper so there is no mark. Others at his atelier use a combination of Reilly and Loomis.

I also feel the method works best when working from observation/ref. If you are inventing a face and use the method you can quickly end up with generic faces.