Now that I am a bit back to life, especially after spending an unexpected evening in Newark, NJ without Jimmie's nor Brian Allanson's phone numbers, I wanted to take a moment to post some of my work from two wonderful weeks in Northern Ireland with
Robert Liberace and his extensive family - especially his lovely wife
Lina , who is not only one heck of an illustrator herself but a person I really love to spend time with.
My studies with Liberace were great! The art center where we did most of our meeting and gallery work will be hosting Tim T. this fall too, so I learned what an incredibly small world it is.
I felt these two weeks with Rob really helped me fine tune his "colorist" palette and the block in for under painting has let me jump into any life situation with out hesitation knowing I will get a good likeness. (Rob just blocks in by two values light and dark shapes.)
I also had my first exposure too plein air painting and it was a real experience. Traveling with my French easel was awful, but it came in handy once there. I did take two lovely panels by Max Howard, but in trying to save on weight, ended up taking the rest in gatorfoam panels by Tim Giles (also great). The foam panels proved a mistake because of the wind in Northern Ireland.
One of the greatest experiences was working with quill and ink, what a joy this was for me and Rob liked this work of mine. I got to show energy in my line, but was able to calm it down with an ink wash.
On many of our rainy days we had the opportunity to work in the studio with models. I have to be honest following Rob's simple way to approach the figure (it takes a bit of time to get used too), one ask themselves why they put themselves through the added frustration and difficulty of NOT working from life. I am always amazed how much easier it is to have all the information right in front of you.
The example I am showing is just about a three hour "sketch". If there was time I am sure I would have smoothed out a bit of the brush work, or trimmed it with a knife. But the color is lively as Rob and his 500 Irish cousins. This one just happens to be Lina's father. 8 x14 on Gesso panel. Note the lighter appearing blue areas are actually the #5 value of Grey Rob uses to tone his supports, he always lets a bit show through to the end. I used it more.
Rob is a treat, I hope you all get a chance to at least take in one of his presentations at the PSOA, or one of his many workshops. For those of you lucky enough to be in the DC, Northern VA area - I hope you get a chance to grab your sleeping bag and camp out to get into one of his classes at the Arts League.
As Bill Whitaker said... I should listen to him because he is a young man who knows his stuff!
Examples shown are Lina's father portrait, one plein air color sketch (this was done with just a palette knife, the cows keep moving), a few pen and inks.
Thanks for looking, Beth