Robert liberace workshop
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I took the photo on the left with my i-phone. I do not feel that I am overstating that I was truly awed by his artistry.
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His technique also included using the back end of the brush to lightly scrape out paint and gently add texture to the surface of the painting. Liberace added color systematically in the non-shadow and shadow sections of the face by adding subtle color changes visible on the model while still staying within the desired value range he had originally established. Liberace showed amazing speed in carefully creating an under painting in the grisaille method followed by masterfully laying down color to complete the portrait shown right in less than two hours. Dave Malin, a fellow artist and member of the Woodlands Art League, donned 17th century garb and served as the subject of the morning demonstration. Today was day two of his five day marathon workshop, during which he painted the costumed figure. "I don't want to plan things too much.This week, I have had the extraordinary opportunity of attending the Robert Liberace workshop "Color Figure and Portrait Painting Alla Prima" at The Woodlands Art League Gallery, in The Woodlands, Texas. On halftones he is careful not to leave heavy block ins Loves TwinRocker heavy text, light art weight, calligraphy cream paper Ties a lot of the elements of the eye together to simplify Thinks in planes, color & temperature all the time Will add half tones in when there is not a lot of shadow to delineate form
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Goes back and forth between different temperatures On the nob of the nose uses a little extra redĭrops in extra water for the fold of the eyes-orbital foldĭraws eye, ties it in to the shadow then carefully marks the lower lid with it Shadow on face, a warm green made of black & yellow & sienna Liberally throws crimson wash over the whole face & "melts" it out When sketching his gesture he holds his pencil at the end You can add a little water to a brush and dilute an area of a graphite drawing (works the same way as in a watercolor), good for evening tones or for contoursĬadmium Yellow Light (or similar bright yellow), If you ever need to steady your drawing or watercolor readdress area with a contour line Zorn used monochromatic watercolor with opaque white on top for emphasis & highlight (Tiepolo) Begins with charcoal before inkįortuny used black, umber & sienna in his watercolors, shadow always finding form Looser shadow & animated but still differentiation of light & dark Tieopolo liked to add "marks of 3" in his drawings, very Venetian technique. Make shapes that are so clear & obvious, terminator shading Really study Ingres-get a good book on Ingres' drawings! Ingres faces are almost decorative-like and engraving but with "spots of action" Likes to paint in watercolor on a smaller scale like Fortunyīox out your shadows, map them out then slowly add midtones Treat every detail of the picture like a portrait Liberace loves TwinRocker paper, Canson "Mi Tientes" too Works mostly in HB, uses harder or softer pencils occasionally to achieve his valuesĪnything beyond 2B gets too dark in his opinion And how could we not when we are privy to the inner thoughts of a modern day master? It is my honest wish dear reader, that something in the post will resonate with you (and with me) and we'll walk away as better artists or at least more enlightened ones. Here are the notes and photos I took from the workshop (click on the photos to enlarge). Every stroke has its purpose and I am working towards accomplishing that same thing (er. Specifically for me I am interested in learning how Liberace makes his work look so elegant and at the same time so dynamic. Every time I find myself in one of Liberace's classes, I am made aware of how much there is to learn about this thing we call "art". Several weeks ago I had the pleasure of attending yet another of Robert Liberace's fabulous workshops at the Art League in Alexandria VA, this one on drawing & painting portraits (watercolor).